A lot has happened for Kate Jackson since her widely adored band The Long Blondes called it a day back in 2008. Relocating to Rome to become a painter, her life as a musician took a significant break. ‘British Road Movies’, her first solo album, is a reinvention of astounding beauty.
The album is largely inspired by American cinema, and referred to as a fancy-sounding ‘multimedia project’, and the melting pot of influences that fill its every moment are immediately apparent. The album’s lynchpin, ‘Metropolis’, attacks on a grander scale than anything Jackson’s ever done, exploding into an enormous second half.
‘British Road Movies’ feels like it has no boundaries or restrictions, countless styles and big-wig influences flowing through the record, and a far greater pot of experiences for Jackson to draw from thanks to her near-decade away.
‘Lie To Me’ could soundtrack a breezy, windows-down drive across these isles on a sunny day, while ‘Last Of The Dreamers’ belongs on a cold night; impressively, they’re both delivered in the least cheesy way possible.
‘British Road Movies’ acts as a love letter to a country Jackson couldn’t quite leave behind, brought to life perfectly by the now-familiar grandeur of producer Bernard Butler.
Travelling from soaring guitar pop to downbeat, piano-led creeping, ‘British Road Movies’ feels like a trip in the truest sense, and representative of that which Jackson herself has gone on: from leader of one of Britain’s most sorely missed bands, via eight years out of the game, to returning as one of its most intriguing new solo artists.
‘The End of Reason’