Rezension in englischer Sprache verfügbarJeremy Jay plays dreamy, stream-of-consciousness indie pop inspired by synth pop, the innocence of the '50s and early '60s, and above all, movies. Whether he borrows from scrappy indie pop and rock, as on 2008's A Place Where We Could Go or 2010's Splash, or more electronic sounds, as on 2014's Abandoned Apartments or 2018's Demons, his music is defined by full-hearted romance and filmic mystery. A native of Monterey, California, Jay moved to Portland, Oregon, and debuted with the Dreamland EP, which was the soundtrack to a short film in which he starred; St. Ives released it in a handmade limited edition of 300 copies in May of 2007. After meeting K Records founder Calvin Johnson, Jay released the Airwalker EP on the label that November and followed it with the We Were There single that December. Jay recorded his first full-length, A Place Where We Could Go, at Johnson's Dub Narcotic studio, and K released it in May 2008. After moving to London, Jay took a synth pop turn on 2009's Slow Dance and the single Breaking the Ice, while the following year's Splash album -- which Jay said was inspired by Pavement, Sonic Youth, and Siouxsie and the Banshees -- returned to a more traditional indie pop sound. The electronic pop bent of his music returned on 2011's Dream Diary, his most polished-sounding work yet, which arrived in April 2011. Jay contributed music to a pair of films, Belle Epine and Grand Central, before returning to the pop fold with 2014's Abandoned Apartments. Following the album's release, Jay issued the digital single "Hallways and Splattered Paintings" b/w "Window Painted Black" and worked with Spanish singer Bigott on his album Pavement Tree. Jay then formed the band Invisible Foxx, who issued the single "The Mask" as well as the 2015 album Monitor Mixx. He returned in 2017 with the single "Demons," the title track of his sixth album. Inspired by the Cocteau Twins and baroque melodies, Demons arrived in 2018 on El Segell. ~ Heather Phares
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