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Regions, the most recent independent release from Jacobstone, is an album that really has to be considered as two separate ventures brought together on one disk. Whereas the first four songs are essentially the band’s latest EP, the following 11 tracks are a soundtrack created to be used in a project titled “In a Field of Poppies.”

The opening four tracks of Regions are a wonderful display of the growth that Jacobstone has made as a band since its founding in 1996. The group offers up four solid indie rock songs without the trappings of self-indulgent solos or over-complex arrangements. As always, AJ’s intense vocals are supported by first-rate accompaniment. The dreamlike, almost floating, tones of each instrument meld together to give a very natural feeling to the music; the sound is sincere and genuine. The quality composition gives validity to the earnest vocals, as pleading lyrics such as “Hold me now. Dump me out. Make me clean. Pour me out.” are sung. The second track, “Holding,” then builds and eventually climaxes with the longing cry, ”I will run to find you. I will run to see your truth.” It takes a special combination of musicianship and passion to make these words come alive, and these five men do it well. This is a band that can produce excellent music without falling victim to pretense. 

“In a Field of Poppies” is an artistic endeavor aimed at “producing dialogue between the exclusive and competing communities of the Balkan region.” Paintings by Richard Harden are displayed while the music, which Jacobstone created specifically for the project (the later portion of Regions), is continuously played. Voices and other sounds from the region can be heard among the layers of instruments on this recording. While it is difficult to form an opinion as to the effectiveness of a soundtrack without having experienced the piece of art, one can imagine the effect that this musical work could have upon an observer. Even while hearing it in a vacuum, the music gives the listener a feeling of voyeurism. It is as though you are seeing thru someone else’s eyes and watching as something outlandish unfolds.

The soundtrack is rather ambient and combines various textures and unusual samples to create an intense experience. While an analysis could go on for pages about the ingenuity of this recording, one example will suffice for the purpose of this review. In “Birth/Rebirth” the music breaks thru predictable forms and structures to create a song that causes one’s ear to perk up and take notice. This is done with the use of a steady background of atonal noise upon which is set semi-tonal layers of vocals and a rather captivating piano melody. This combination gives the song a commanding and eerie sense as the surreal piano part hovers seemingly just out of reach. In short, this soundtrack is unique and powerful. 

Each half of this album is very well crafted, but the album is truly two separate projects. Having said that, Regions holds many sonic pleasures and is well worth your time. 

More information about “In a Field of Poppies” can be found at: http://www.jacobstone.com/Main/Poppies_Main.htm

Trilisa M. Perrine (8/16/2002)

Every once in a while a group will release an album that totally redefines the parameters of where Christian rock n roll can go. With their latest release entitled _Regions_ the group Jacobstone has done just that. In actuality you can divide this project into two sections, the first is a four song set of good atmospheric rock produced by the band along with Aaron Shannon. The music was written by Jacobstone and the lyrical contributions are by AJ Fink. If this were the only part of the album to be released it would still be well worth the price of purchasing it. Yet this is only the beginning of a musical adventure that is breathtaking in scope and nature.

The final eleven tracks on this album make up a sonic companion to an artistic collection by Richard Harden entitled, "In A Field Of Poppies."  These eleven pieces of music are unlike anything seen in Christian music since "The Revolutionary Army of the Infant Jesus" . Experimental music has always intrigued me, because of its very nature, it is exciting and daring. As I am listening to this section of the album it is painting so many wonderful and glorious visual images. Not being overly familiar with Mr. Harden's work, my mind is working and being sonically challenged in ways to create my own visual images and its a blast. When you go to the Jacobstone web site there is a connection to view some of the images that this music was created to accompany. They are as inventive as the music that goes along with them. There is a great deal of genuinely great music being put out by artists who hold to a biblical world view, but there is nothing at the present time that I am familiar with that even approaches the brilliance of this album. As a DJ, I look forward to the times when for whatever reason I get an extended program so I can share this piece with my listeners. It is forty four minutes of experimental heaven. If you have even the slightest hint of adventure in your musical taste, then do not waste a single moment getting this album and turning your friends on to it. This section of the album was produced by Richard Harden along with Matt Spransy. 

Chris MacIntosh aka Grandfather Rock 8/29/2002

The title of the newest album from Jacobstone, Regions is an appropriate one in many ways.   On one hand, there is the fact that the bulk of the work is the soundtrack for the travelling exhibition "In a Field of Poppies" and how that deals with some of the negative things about warring factions in certain regions.  On the other hand, there is essentially two albums on the one cd, a four-song EP of new Jacobstone material and an eleven-song primarily instrumental ambient album, and the title could be referring to these separate regions of the disc.

As tempting as it is to review this album as its components, it is best served by treating it as a whole.  The first four songs serve to set up the final eleven.  There is a more overtly spiritual element to the lyrics on these four tracks than there was on Chambers And Volumes. Sonically they follow logically from that project, as Jacobstone continues its growth as a band.

"Prince of the City," "Holding," "A Year of Loss," and "Comatose," more traditionally Jacobstone in style, set up a canvas on which is painted the 11 tracks which follow.  The last eleven tracks are an interesting pastiche of sampled sounds, spoken voice, guitar, drums, and keyboards, interwoven to create a general effect of loss and alienation, but ultimately hope, in the face of despair.

Of the more instrumental tracks, the ones which were most attention-grabbing to me were "Hallways, Emblems," "Leavening," with its haunting female-spoken lyrics, "Proem Floor," with its almost chanted backing vocals leading into a distorted bass pattern, and "Rest Through," which closes off the package.

Because it does not neatly fit into the usual pattern of an album, it is a hard work to get a grip on, initially.  But with repeated listenings, the picture of the last eleven tracks becomes clearer and clearer.

Since this is a more conceptual album, on the whole, many people who liked Jacobstone's first two efforts may find themselves either not quite getting into this album, or sticking to the first four tracks.  But for those willing to take the time to be absorbed into the landscape of the final eleven tracks, there is a certain beauty to the mess, which is well worth the listening.

Alex Klages 8/29/2002