Liverpool Sound And Vision Rating 8.5/10
There are the degrees of love in which a person rises high, in which they become the obsession, the eternal Muse, then there are the fallen, the ones we look upon with disdain, with displeasure, with the face of being damned firmly etched upon our faces; between these two states of emotion we lay content, our determination of appreciation and the fallow slide of neglect a true reflection of our feelings.
Art is the mirror of these two states of minds, but it never quite touches upon the moment in between, the moment of elation, the ebbing tide of the now unloved, the realisation that we have when we think in our mind and don’t admit to someone that I’m Almost Over You.
It is in this sense of beautiful relationship melancholy that John Jenkins once more releases a song of sheer depth and observation, the texture of which highlights the ideal state in which we live, either love or hate but asks the question of us, of how to let things go without being unkind, less than responsive to other’s needs or possible fragile mind.
It has been a busy year for John Jenkins, one of the truly adored musicians of the Liverpool art’s scene, I’m Almost Over You is a call out to the future, and ahead of the new album due in 2020, Growing Old (Songs From My Front Porch), the dedication to the listener’s heart and senses is once more overwhelmingly clear.
A song of yesterday but set firmly in the future, the one where we so often ignore to look, for being in touch with the understanding of how our emotions fade and grow, that is the point of the Americana John Jenkins has exposed so wonderfully, and how his music continues to influence.
We never have the guts to admit such a statement, we never have the belief in our hearts to say with kindness that there is neither love or hate, we have become a society that needs one extreme thought or its counterpart in which to base our feelings upon, as John Jenkins shows with compassion, I’m Almost Over You is the emotion we should be employing to its full potential.
Ian D. Hall