Promising a dreamy to euphoric depth of guitar sound, as per the master himself and the artwork implications, Jameel Farruk delivers the songs and sentiments to match the evocative playing and melodies of his style, throughout the beautifully enjoyable album Middle Names.
Refreshingly humble but impressive for its sense of groove, concept, mood, and skill, Middle Names was released one year ago this month, and remains a timeless ode to the expressive purity and freedom of independent musicianship.
We begin with Aurelia, a humble but intoxicating guitar song, with minimal layers drawing focus to the simple instrumental rise and fall and these meandering, evocative vocals – detailing a story that feels familiar but is ultimately quite striking in its originality and intimacy.
Also in keeping with the title of the project, these ten original tracks all present a single female name as a key identifying trait, and this organic, fire-side electric guitar kind of mellow warmth remains an equal part of the familiar embrace of the collection.
Jameel’s voice is also crucial in maintaining the relevance and vibe, with Beatrice following on as an organic solo performance with
subtle twists of production and echoing sound-play quietly lighting up the outer edges.
Humble strumming and funky tones add versatility to the minimalism and heartfelt realism of this project, Hatsum shifting the pace and style just slightly, Penelope then softening it entirely for ethereal finger-picking and blissfully harmonised voices.
Siegel feels a little more ‘out there’ – an alternative melody and rhythm, a mildly theatrical delivery, and something like Gypsy jazz creating intrigue and mystique as things roll along. Even so, the style fits as ever, holding tight to your attention and the mood, and the album continues to connect and impress. Its simplicity yet conceptual honesty, its humility and heart, all reminds us of the power of genuine, unconfined, organic music and songwriting.
Mara leads with a familiar folk aura for its fingerpicking and the brightness of the tune, Fiona contrasts this with an indie rock rhythm and subtle grit to the tone – as well as the simultaneous downpour of more gentle guitar notes. It’s a stream of consciousness with near-falsetto vocal peaks and a generally dreamlike presentation. Possibly a highlight for its balancing of originality and the easy resolve and passion of the hook.
Lydia is equally catchy and satisfying, almost Bryan Adams-like in its doubled-vocals and melodic appeal. Elsewhere we blend influences ranging as far as from Mac Demarco to Bruce Springsteen, but it’s all incredibly discreet. Then for Louise, we enter a slightly contemplative, somewhat emo-rock inspired riff and breathy to whistled scene of largely instrumental expression.
To throw us one final curveball for the closing song, Mathilde injects a certain vulnerability and grit, with an opening line that captivates and crushes in its relatability. Another circus-like sway of a composition, and a personal highlight for its suddenly raw and fearless self-reflection and realism. A great way to wrap up a project that seems to offer some new idea or feeling each time you revisit the songs.
Wonderfully written, performed, and recorded. An easy place to escape for a while.
Download Middle Names via Bandcamp. Find Jameel Farruk on Instagram & his Website.
