The breakup of
Out Hud was a minor tragedy of sorts since they had basically just released the very good
Let Us Never Speak of It Again album. Most of the band went on to play in
!!!, which made sense because it was their main band to begin with. For cellist/vocalist Molly Schnick, the road forward was a bit longer. She turned her back on the rubbery basslines and dancefloor friendly tempos and spent three years crafting her first solo record under the name
Jean on Jean.
Jean on Jean is a fragile, tender, and intimate album that draws from freak folk, indie pop, and singer/songwriter traditions and weaves these influences into something magical. Schnick played most of the instruments herself (with some sounds provided by ex-
Supersystem member Rafael Cohen) recording them mostly at home. The sound of the album reflects the time spent on the recordings and the intimate surroundings where the recording took place. Gently picked acoustic guitars, subtle strings, and restrained keyboards provide the backing and Schnick's breathy, clear and girlish voice wraps the words in comfy layers of softness. The mood the album captures is one of quiet reflection and contemplation, but never to the point of self-absorption. Instead it sounds like a good soundtrack for a solitary, but for waterfowl, stroll alongside a lake on a grey day - just like the album's cover! The only song that truly breaks through the misty mood is the opening "Tonight," which has a skip to its step reminiscent of the
Softies or
Talulah Gosh, and features Schnick's voice at its innocent best. Elsewhere there are flashes of color (like on the sunny chorus of "Hawaii" or the doo wop-inspired chord progression of "Grown") but mostly the feeling of warm and welcoming melancholy prevails. It's certainly a departure from
Out Hud and it's a fair bet that many of their fans will find this record to be too much of a downer. Too bad for them, because
Jean on Jean is a captivating record full of tenderness and quiet beauty. ~ Tim Sendra