Fifth album from London singer-songwriter out now from PIAS Recordings
Recorded in a renovated monumental church near Amsterdam, with a 20-piece string orchestra, Jeremiah has imparted a heavy European influence into his new work.
The new album was written during a break of a European tour in France, the sort of time devoted to long walks in the fire. Upon first listen of the album, this listener realised how good of a vinyl listening experience the LP would provide.
The opening title track features imagery of road racing and reminiscing with a vibe of positivity bursting from the seams. The orchestral element of the arrangement helps elevate the composition, and this will become a recurring theme throughout the album - soulful vocal delivery married with sweeping strings.
Sounding like Michael Kiwunaka or Gregory Porter supplanted from the 1970s, the album has many highs and comes across as a warm blanket of comfort like a flavoured latte from your favourite coffee shop in the run up to Christmas.
Jeremiah is a very visual storyteller, he admits being introduced to German painter Neo Rauch - and this approach of 'art influencing art' for him. Using imagery to his advantage in the tales he tells putting you in the position of the protagonist, JJ must enjoy people watching as he sips on that coffee after a midday stroll through his local village.
A self-confessed detached character, JJ is not immune to love and tells those stories in his songs. This detachment is paramount on a song like 'Cut A Black Diamond' a song where he wrestles with his emotions, the backing vocals being the devil on his shoulder.
'Restless Heart' is a tale of triumph, a train that will reach the end despite the hill he must climb. This album begs for re-listens and appreciation on many a scale.
Quiet, unassuming and humble, Jonathan Jeremiah is an artist I was unfamiliar with but one eager to explore more of in the future.
Horsepower for the Streets is out now from PIAS Recordings and on all platforms
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