Rating: 
It’s been a pretty great few months for Austinite Jess Williamson, with press clamoring to hear her latest album, Native State in its entirety. Listening through, the hubbub is definitely justified, as a great deal of musicianship is accomplished in a short span of seven songs. Those that devote time to the record will be rewarded with an album both thoughtful and well-crafted, giving you a listen that you’ll come back to again and again.
The longest song on Native State, “Blood Song,” opens things up, seemingly developed in the Western frontier of Texas plains. The tone of the guitar seems distant, in an enduring sense, forcing the listener to focus closely on the soft release of Williamson. As slide guitars echo in the distance, there’s a rising tension that seems to build, increasing the emotional investment of the listener. It’s a song that leaves you drifting, mentally, carried away on the winds of Jess’ songwriting. And, things only begin to get better as we move into “Native State,” which takes on a more traditional folk aspiration centered around a banjo. For me, the vocals are what steal the show on this track, as there’s a faint hint of a quiver; I’m a sucker for the fragility of a good songwriter.
While many of the songs Jess Williamson presents here seem offer up a look at the artist, naked and honest, there’s a few tracks that really are perfectly fitting for providing the sound scape to a road trip or a photography showing. “Spin the Wheel” is one such song, starting off with little to no pace from the beginning. As the songs moves forward, there’s faint cymbal touches, string arrangements, all adding depth to the track. Yet, going forward, guitars enter the picture, cymbals create a wash of percussive waves and Jess uses her voice to propel you towards the ending. Whether the intention was to provide an image of movement or the passage of time, the varying moments of music within, definitely provide you with that wistful feeling.
As strongly as the effort opens, it closes in just as strong a fashion, if not more so. There’s more of a light-hearted spirit in tracks like “You Can Have Heaven on Earth” and “Seventh Song,” which definitely seem to contrast the ominous spirit of the opening numbers. For me, this serves perfectly to fit the mood I’ve associated with my listening experience. Sure, the poetry is well-written and personal, but my emotional attachment seems to place a sense of moving on or pushing forward as you go from track 1 to 7. Ending on a positive note is never a bad thing.
Clearly this is going to be a wonderful year for Jess Williamson. The accolades and interest in her music seems quite justified after spending a great deal of time with Native State. Lyrically, it offers a great deal. Musically, you won’t be disappointed. Do yourself a favor and immerse yourself in this listen and see where you end up…odds are you’ll be grateful you did.
[audio:https://austintownhall.com/wp-content/uploads/2013/12/01-Blood-Song.mp3]
Coming to an ATH dance party near you is this great track called “Ricochet” from Minneapolis based Strange Names. When you hit play, I’m sure you’ll hear some hints of fellow indie dance hit makers like Twin Shadow or even Junior Senior. It may not be for everyone, but it would be one hell of a way to start a Friday or Saturday night for sure.
