Jessamine
Don't Stay Too Long

This is one of the most underrated bands I have ever had the pleasure of rediscovering in recent years: it was 1993, and all of Seattle, as well as the entire world, was bowing before the new Bible of rock: Nirvana, Soundgarden, Melvins, Alice in Chains, Mudhoney, all bands that undoubtedly left their mark, however small or large, in the album of memories of anyone who was, at least for a while, interested in alternative rock. While the aforementioned bands, to varying degrees, reaped the often forbidden fruits of their hard work and the rest of planet Earth raced to imitate them, a name emerged from the unknown underground of that cauldron of ideas and musical expressions that was Seattle, despite the grunge. They were called Jessamine, a four-member group with a female vocalist. The inflationism of the Seattle scene, which was in vogue those years, incredibly did not manage to taint, with the usual imitation tendencies, the sound skills of this quartet, even though at first, certain post-grunge echoes in the arrangement of the pieces (in the 7-inch for SubPop, and in their first work) come to the ear. Two years later (1995), "The Long Arm of Coincidence" came out, and it's the same label investing money and hopes in Jessamine: Kranky, which at that time had already taken charge of other sacred monsters of psychedelic electro-noise, such as Magnog and Labradford, and soon would continually astonish us, and continues to amaze us, with other releases and new stimulating ensembles (Stars of the Lid, Godspeed you! Black Emperor, Low, just to whet the appetite...); the band's potential unravels a majestic skein made of circular chords, heartbreaking and minimal melodies, electronic noise and the alluring voice of Dawn Smithson that crowns it all.

But it's with the next album, this "Don't Stay Too Long," in my opinion, that the band's sound, which remained, how to say... incubated for a long time, has a way to unfold its immense and powerful wings: the balance between distorted instruments, melody, and analog disturbances (Rex Ritter's guitar) can truly be admired with closed eyes (as good music should be listened to...): the first track is ultra-captivating, the second is the triumph of the early '90s pedal aesthetic (BigMuff and Wahwah first and foremost), my favorite is "Corrupted Endeavor," with a very Sonic Youth aftertaste, but imbued with quite another personality, the indisputable one of Jessamine (and don't forget "Burgundy," anyone who listens to stoner will be stunned)... terrifying end of the piece, just as the end of the album, which leaves everything in suspense and almost hints at a continuation of the discourse undertaken... something that unfortunately will not happen, as they will soon disband (1998... sigh!!).

Dawn will return to studies and only this year has released a new album (also beautiful...), still with Kranky; Rex Ritter formed the Fontanelle in the following years, with whom he created splendid suites of free-noise-jazz (still with Kranky...) and released 2 splendid albums. Finally, note the active collaboration in recent years with SunnO)) and Stephen O'Malley's project Ginnungagap, both in the composition of songs (SunnO))-White1 and White2 // Ginnungagap-1000% downer, which I have also reviewed...), and in live appearances (especially Rex Ritter on MOOG in SunnO)).

Ultimately, I strongly advise you to get/download something as soon as possible: whether you are lovers of jazz, slow, experimentation, grunge itself, or metalheads, stoned stoners or sad ones, trust me, Jessamine will make you feel something emotional! :)