With a continuation of the artist’s devil may care attitude and an undeniable sense of abandoning the grandeur, and mocking the materialism , paired with a healthy dose of unbothered indifference, the singer-songwriter is back on the music scene. And boy is it sweet.
With lyrical content such as “Let me live in pubs” and “Tells tales of smashed out windows/ Broken glass” melancholic harmonies blend gingerly with a sense of frantic teenage abandon that is so deliciously familiar for the artist. Contrasted with tracks such as ‘The Old Style Raiders’ sporting penmanship which boasts a feeling of conformity with the singer feeling the need to “Tow the line” and a lack of direction with: “I lost my way”.
Instrumentally the album claws at a very apparent sense of urgency reinforced with high energy infused guitar riffs contrasting with melancholic melodies that are dripping in nostalgia. Teenage abandon runs deeper the further listeners venture throughout the project, with lyrics in tracks such as ‘British Hell’ defiantly ringing out: “She hates the times I get wasted”
A darker reflection of the artist's psyche is also revealed within lyrical content such as “Demons in my head/ Demons in my bed” and “I know you know the dark of a moonless sky/ And why halos start to fuzz” giving an overwhelming feeling of things coming full circle… boasting more of a ‘Don’t you find’ feel lowering the tone from more high energy tracks such as ‘Keying Lamborghinis’, which still exudes an indisputable Jamie T feel to it while simultaneously and refreshingly peeling back the layers to a new sound. One that blends disorganised keys, trippy space like synths and background vocal screams that give a very distinct and poignantly new vibe to the album.
Following on, tracks such as ‘St George Wharf Tower’ reveal a more solid and grounded side to the artist, anchoring him in stability and a sense of recovery from the pure chaos presented previously. Throughout the track, Treayes coos lyrics such as “Mumma made me strong enough to deal with these blues”. Perpetuating a sense of fighting through the emotional aftermath created from the previous track.
Listeners are introduced to a more morbid sense in ‘A Million And One New Ways To Die’ as well as more innocent stripped back vocals in ‘Thank You’ alongside contrasting melodies in the almost Blur ‘Park Life’ esque chorus . Humour litters itself throughout the track as the singer refers to himself as an Uber driver, “ I bet like you/ He’ll call me Addison Lee”. representative of the overall bigger picture of his “long distance” relationship.
Drugs, heartbreak and mental violence still run deep through the album as he refers to “The only prime time is the one in my brain spending time jacked up again” and “Like I don’t feel ashamed” “Watch you pull me apart” something that doesn’t change with this artist is the undeniable, nerve tingling teen nostalgia that is alive with every breath and beat of this album. An untameable fire that will never be put out.
The singer credits his success to the “obsession” with the past and his fear of the “memories fading” “If the pages are not written” pure rock infused electric guitar also runs heavy throughout the album further emphasising the talent of this artist as he meshes rap, indie rock and romance infused pop all in thirteen tracks. The closing track on the album ends with ‘Talk is cheap’ where Treayes ominously reminisces on “Drinking in different bars with different twats' ' revealing the deeper and more ruminant side to one of London’s most prolific indie hoodlum alleyway icons.
It’s safe to say Jamie T has finally come home.
Felicity Giles
Image: Jamie T ‘The Theory Of Whatever’ Official album cover
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