Henry Jamison is a folk singer songwriter from Vermont. Jamison comes from a very long line of storytellers, his father a successful classical composer and his mother an English Professor. Even further back, his lineage can be traced to people like George Fredrick Root, the successful Civil War Era songwriter. It’s a family tree of which Henry is rightfully proud, and he considers himself yet another in this long line of story tellers. He debuted with his breakout EP, The Rains in 2016, but really hit his stride with 2017’s The Wilds.
His blend of acoustic instrumentation and vivid lyricism is not uncommon in the folk world, though Jamison is especially good at it. The Wilds touches on several interesting topics and his brand of visual lyrics brings these ideas to life with a pleasing sound. Though his songwriting is excellent, his melodies and instrumentation tends to suffer from a lack of attention which is mostly given to the lyrics. Because of this, his earlier work strikes something of a niche market of lyrically focused folk fans and lacks some of the wide-ranging appeal that can be found in the best of the genre. With Gloria Duplex, however, he aims to rectify this while continuing to build on what made his earlier work great. For the most part, he succeeds.
First and foremost, Henry’s lyricism is still the key focus for his music, and for good reason. Tracks like “Boys,” and “Ether Garden,” tell fantastic stories with clever turns of phrase and some beautiful, descriptive poetry. This is, by far, the highlight of what the album does and for lyrically focussed folk fans, this an excellent project.
His vocals, while not overly impressive, get the job done just fine for a folk record. The closer, “Darkly,” actually features a very emotive performance and some strong harmonies and “Reading Days,” is decorated with a few thoughtful melodies. The majority of his vocals are just well done enough so as not to be distracting, but he does show a few hints of putting more effort into these leads.
Additionally, there are moments of strong production here and there. The vocal effects on the “Beauty Sleep,” interview, for example, is exciting and creative and the atmospheric decorations of “True North,” add a lot to an otherwise uneventful track
There’s even the stray moment of instrumental brilliance. The warm violins on the album’s best track, “Florence Nightingale,” the playful guitar of “The Magic Lantern,” or the unique chord progression of “Stars,” are proof that Jamison has the ability to arrange some excellent instrumentation when he puts in the effort. Unfortunately, it’s also in here where I find the majority of my complaints.
A large portion of this album is drug down by cheesy and uninventive instrumentals. The very cliched guitars of the opener, “Gloria,” set the record off on a bad note that it struggles to recover from until a strong run in the middle. In the final third, however, we’re thrown into the weakest track on the album, “American Babes,” which sounds like a stock folk track completely buries its admittedly strong lyrics. This leads us straight onto “In March,” which, while a bit more daring, never seems to bring any of the ideas it contains to any kind of satisfying fruition. Aside from a few notable exceptions, nearly all of this album suffers from this same weak link and isn’t helped by fairly run-of-the-mill mixing.
All in all, this is a solid sophomore effort. Henry’s poetic writing style will be a hit with a lot of folk fans, as it should be. He clearly puts a lot of time and effort into his lyricism. One can only wish, however, that he put the same time and care into the other facets of his music, namely the instrumentation and production.
Gloria Duplex is extremely well written, but a lack of care on the instrumental and production side leaves it feeling like just a catchy poetry collection and robs it of enormous potential.