Jon Brion
Meaningless

THE REVIEW

The strange case of Jon Brion: A crystal-clear talent in the art of pop composition, a refined producer and arranger, among other things of the wonderful "Bachelor No.2 Or The Last Remains Of The Dodo," Aimee Mann's masterpiece, made such also thanks to his impeccable stylistic taste, as well as the author of various film soundtracks. A character for whom superstar status would be simply deserved, if it weren't for the fact that he himself is the first not to desire it; Jon Brion is an anti-star, he prefers to work behind the scenes, compose OSTs, and let others take the glory and the burdens of the stage. A counter-current choice in an environment often plagued by egocentrism, which I would fully support in theory if it weren't for Jon Brion's vast potential as a "singer-songwriter," fully expressed in his first and still only album, this "Meaningless," dating back to the already distant 2001. It's truly a shame that such a gifted songwriter does not possess the artist's egocentrism, because after such a demonstration of class, one would want to listen to and consume the second, the third, the fourth album which, alas, do not exist and probably never will.

A perfect and above all sincere album in all its aspects, even the more superficial ones: starting with the title and cover, the character's shy nature, absolute sobriety, and a single sky blue color (one of the three most beautiful colors in the world according to myself) shine through better than anything else that "Meaningless" has to offer. Simple songs and varied bittersweet nuances form a refined yet absolutely confidential, informal whole, devoid of any "pomp" and pretentiousness; 1960s lightness, lively pop touches, and skillfully dosed orchestrations, a mix in which one clearly perceives the continuity with what was expressed in collaboration with Aimee Mann but above all, splendid melodies that win over the listener with grace and naturalness, without shouting, without showing off, with the sole force of sincerity and a fresh and velvety touch. As if that weren't enough, Jon Brion is also a superb singer, endowed with a sharp and unique timbre, slightly higher than a standard male voice, able to convey the right emotion without ever slipping into kitsch silliness and dubious taste sentimentality; this can be fully appreciated in songs like the lively and semi-acoustic "I Believe She's Lying", co-written with Aimee (and you can tell) and "Ruin My Day", indolent and bittersweet piano-pop orchestrated, which define the atmosphere of serene and intimate levity that characterizes and makes this album unique. A sweeter and more introspective soul is not lacking, emerging in episodes like "Hook, Line And Sinker", touching and delicate, the folk/singer-songwriter inflections of "Trouble" and "Voices", a Cheap Tricks cover that is expanded and completely reinterpreted, from rock ballad to piano and voice serenade, ennobled by a wonderful falsetto interpretation. However, dividing the songs of "Meaningless" into categories is not a good way to describe such a spontaneous and natural album, where every episode has its own peculiarities and a unique microcosm, the lounge/retro class of "Her Ghost" and the lively and bold beat of "Walking Through Walls", songs that make you snap your fingers to the rhythm while whistling the melody, with a warm sense of happiness and pleasant surprise in mind, the moody and biting pop rock of "Gotta Start Somewhere" and the more carefree and catchy one of "Meaningless", a gem also from the songwriting perspective, short fragments of great intensity and atmosphere like "Same Mistakes" and "Dead To The World".

Yes, "Meaningless" is truly a sky-blue album, sky-blue like the sky on a beautiful spring day, with its crystalline melodies that make me feel at peace with the world and also the manifesto of an author and musician of undeniable class, so different from certain saccharine pseudo-singer-songwriter trash from hit-parades. If one wants, it can easily be interpreted as a "Bachelor No.2" in a masculine form, with a more confidential and relaxed personality and simple arrangements, never intrusive but stylish and carefully chosen, a unique exemplar in every sense. As far as I'm concerned, a pop masterpiece, a masterpiece of style, and above all, simplicity.