Jookabox – The Eyes of the Fly

Jookabox – The Eyes of the Fly

Through his time as the headlining face of Jookabox, David “Moose” Adamson has always been able to deliver honest, sincere music that never shredded an ounce of integrity in favor of some deplorable lime-light. Now known simply as DMA, Adamson always ensured that his band’s focus was maintained around the concept that music should be genuinely passionate while never overcrowded with disillusioned motifs. For Jookabox if the music and rhythms were disillusioned then everything was downright peachy, with Adamson allowed to banter, chant and sprawl all over the open canvasses. So in fitting fashion – even as the band opts to call it quits after a quartet of solid albums – Jookabox’s The Eyes of the Fly is a bubbly, energetic and sure, sprawling array of music.

The album’s title track is just about enough proof one needs to understand that in choosing to write their own song, this fourth and final album never needed to be about the drama. On that aforementioned song, Adamson and Co. build a massive choral rant around a creeping guitar line and sporadic vocal spurts; the combination of switching from an ethereal, worldly vibe to a rocking and rolling jibe is a terrific fusion, and one that sounds defined and assured under Jookabox’s tending. Most of what The Eyes of the Fly ends up being is a sole testament to the Midwest-based band’s efforts: tirelessly touring and gathering as a cohesive unit solidified their riches and, now, their strengths are seamlessly available for viewing.

Like every other Jookabox album – from the folk tendencies of Scientific Cricket, to the intensified Ghost-rap of Ropechain, to the zombie thrills of Dead Zone Boys – this new effort provides a diverse focus in the band’s reaching catalog of sounds. Streaming an influence that seems to ebb on the 80’s side of flow, Jooxabox’s core is steadily in the hands of keyboards at one point or another on The Eyes of the Fly. On “Worms” the tribal drums provide a clashing constraint to the almost arpeggiated synthesizer and on the closing “Veils”’s staggered build-up, everything relishes around the keys pulse and drive. Whereas in the past the drums made more of a drastic sense of feel, the keyboards on the album reveal a deeper and more substantial layering beneath the sheen. So, even on moments where the band screams away like on the latter song, the melodic feelings of the synths display a convergence of flair that is well-received.

There’s definitely still moments where Jookabox resembles a certain artist and it’s often more subtle than expected. The simplicity of being able to present your influences forward and mix them in with your own tendencies isn’t exactly the easiest of tasks but, somehow, Jookabox has been designed around taking ideas that shouldn’t work and turning them into bona fide club bangers. On “Nice-Boy” they take the rattle of auxiliary instruments and an atmospheric wave of sounds to deliver a banging hit and, in the end, the song is a springing two-and-a-half minutes long.

As on any other Jookabox album, the flow is always its best friend and never its enemy. Opening with the explosive drums of “Man-Tra” and travelling into a deep abyss of channeled styles and synths is an Earthly decision that easily favors Jookabox’s all-encompassing nature. It’s not entirely sunken in that this will truly be, as advertised, the band’s last album together (Adamson looks to continue solo with his new moniker DMA) for many reasons other than its raging center. Until then, The Eyes of the Fly shakes and grooves like any other Jookabox album – which is never a bad thing.

“Drops” by Jookabox

Asthmatic Kitty