Jean Dawson’s ‘CHAOS NOW*’ is a wonderful melting pot of genres and experiences
October 7th saw Jean Dawson’s third album CHAOS NOW* smashing onto the scene. Described by AllMusic’s Fred Thomas as a ‘genre-defying polymath’, Dawson has solidified himself as a key player in the experimental pop scene. Genres utilised by Dawson include grunge, emo, glitch-pop, bedroom pop, trap, alternative rock – how much time do you have?
With the aim of producing music that feels “like if Morrissey was Black”, the artist wears his musical influences on his sleeve. Kanye. Kid Cudi. The Cure. Pixies. New Order… The Smashing Pumpkins? Any questions so far? Me too. Dawson prides his work on the evident confusion it elicits. The aim is seemingly to disturb the archaic practices of reducing music to one genre – this album feels like the epitome of Dawson’s goals.
The boom in POC artists (WILLOW, Yves Tumour etc.) dominating genres similar to the ones Dawson operates within remains refreshing, as their viewpoints, words and musical talent are much needed in the current social and political climate. Especially in a genre that has been historically dominated by white males. Jean Dawson continues to contribute to the perpetuation of an environment where POC artists are beginning to have the exposure and platform to perfect genres wherein historically and socially, opportunities such as these were a lot less prevalent.
In a recent interview with music reviewer Anthony Fantano, Dawson revealed that his production process involves putting himself in ‘uncomfortable places’. The result of this is evident – a cohesive album with moving lyrics tackling everything from racial prejudice to imposter syndrome and mental health to lost youth. CHAOS NOW* stands as a shining piece of evidence that confronting and interrogating the uncomfort humans experience can be transformative when moulded creatively. The goal seems to not allow the listener to be comfortable in coasting in one consistent sound throughout, in the absolute best possible way. The main throughline uniting each track is Dawson’s instrumental prowess and introspective song writing.
Also demanding centre stage is Dawson’s multi-instrumentalism. Its clear to see that the influence of Dawson’s upbringing in a musical family has propelled the artist into mastering both the guitar and piano – which are both used adeptly by Dawson throughout the album. In the best way, while uniting the whole album, Dawson’s instrumentation and lyricism fighting for the centre stage also contribute to the perpetual chaos of the album. Personal highlights of the project include track 6 – ‘BADFRUIT*’ with Earl Sweatshirt which presents a soaring chorus of strings and echoing background vocals; and is directly juxtaposed by track 11 – ‘HUH*’, offering a self-reflective entry soundtracked by sporadic stings of electric guitar licks and tackling the weight of unrealistic expectation.
Though I can easily see how this album may feel akin to sensory overload for some listeners – however CHAOS NOW* is just that, a capsule of chaotic and energetic entries, with ebbs and flows. CHAOS NOW* does exactly what it says on the tin. No gimmicks, no confusion, no underselling – no two ways about it. With a sound reminiscent of flicking through radio stations, each track presents a slightly different offering from Dawson, while still maintaining its status as a cohesive finished product that effectively demands your attention.
CHAOS NOW* is available on all streaming platforms now.
