This group have caused some rumblings around Brighton in the lead up to the release of this EP. After a few listens through When Golden Morning Comes, it’s easy to see why. Sam Jordan’s distinctively powerful voice acts as an immediate hook, but the band are not so transient as to rely on this: Jordan may position himself squarely in the forefront, but the musicians who back him do so with a light but confident touch, and have sensitively constructed quite a lovely piece of music.

All the songs begin from Jordan’s acoustic guitar, which clearly forms the foundation of the record. In this respect, his origins as a solo performer are clear and for this reason, the lyrics hold a lot of emphasis. Give them your attention, and they will reveal to you rich and delicate imagery throughout. The band have had a difficult job building parts around fully formed songs that were written to stand alone, but you can hear that in doing so they have contributed much to the character and ambience of the record. They give power to the many flowing builds and drops, which would lack impact without a band. However the true strength of their playing is that it’s understated. No single player ever shows off or comes out too loud, breaking the atmosphere so painstakingly crafted. Rather they are all there playing exactly what they need to be playing to make each song full. You might not even notice that they are there – but if they weren’t, the record would feel incomplete.

The EP opens with a gentle fade into ‘Ghost’, the lead guitar matched with a wistful line from the organ. Jordan’s voice rings out over the opening chords against echoing drums and creeping backing vocals. The song slowly builds over two minutes before dropping completely as Jordan changes register, moving to a high tone that betrays vulnerability. It’s a dramatic change and one that opens up a whole new range of sound to the record. From here the song builds a second time on a melancholy refrain before all the instruments burst back in for a euphoric ending.

‘Oceans Post’ has a more upbeat beginning, but the song shifts in tone to something more sombre. Again the organ features heavily, and again Jordan’s voice hangs over the rest of the recording, cutting through it all and imposing itself in the foreground. It’s a mammoth six and a half minute song with a rising melody and a stamping folk feel in the crescendos, but it never drags on, taking enough twists and turns to keep your attention right up until the faintly ominous vocal distortion at the end.

The third track ‘Sister’ is simple but powerful, containing more of the refrains Jordan does so well. Several times his voice is left to stand alone and he seems to cut loose in this one, striking a more adventurous and experimental tone. The final track on the EP, ‘Waiting Rooms’ features only guitar and vocals, and is a return to Jordan’s roots. It’s an evocative track that surprises halfway through with a change to a Nick Drake-style guitar part, and another switch in register – this time from high to a deep low, which almost suggests the singer has hit rock bottom. This is also where the most lush natural imagery can be found. It’s an end to the EP that belies its stripped-back makeup and shows just how strong Jordan is by himself, and highlights, by their absence, the crucial input of the Dead Buoys.
Ben Noble

Website: officialsamjordan.com
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