The Jezabels - Prisoner

The first time I heard The Jezabels, I was hooked: their talent for writing uniquely individual indie was instantly appealing to me. Their first three releases – a trilogy of interwoven EPs dealing with the sometimes controversial themes of romance and gender – were met with critical and fan acclaim alike, as are their live shows. Make no doubt about it: The Jezabels know how to make music, and they make it well. You can imagine my excitement, then, at the news of a debut full-length record. And my pain upon hearing that while said record would be released in November 2011 in their native Australia, it would remain a mystery to UK listeners until spring this year. The wait, however is over; Prisoner is finally here.

Within seconds, a massive-sounding church organ beckons the listener into The Jezabels’ world, introducing the listener to title track Prisoner in a delightfully ominous fashion. Guitarist Samuel Lockwood’s distinctive clean guitar sound can be heard from the very beginning (and, in fact, it permeates the whole album, giving each and every track that signature Jezabels sound). Halfway through, however, the track breaks down into a driving synthesised groove, over which keys player Heather Shannon batters out some chords on the piano. This is something new; something electronic; something different. It’s a triumphant opener, full of passion and intrigue, and shows a great deal of growth in the band. While their first three EPs were intrinsically linked, Prisoner is a different beast altogether: stronger, louder, more confident…but still The Jezabels.

The Jezabels’ sound has certainly developed on Prisoner: the band experiment to great effect throughout the record, unbelievably adding an extra depth to their already huge sound. Mid-album interlude Nobody Nowhere is a storming dramatic piece that leads straight into the synth-tinged Horsehair; while singles Endless Summer and Rosebud take things to yet another higher level.

For all The Jezabels’ experimentation, though, there are still many recognisable elements to the album: Hayley Mary’s unmistakable vocals soar majestically throughout the record, while drummer Nik Calloper’s powerful rhythms keep everything moving at a nice pace. Although some tracks tread familiar ground, they are no less impressive: the epic Try Colour begins with a dreamy meandering indie-pop before exploding into a thundering romp; City Girl sees The Jezabels bringing out the powerful indie ballad that they do so well.

Prisoner is everything I expected The Jezabels’ debut album to be and more. Inexplicably, it manages to be at once forceful and tender; superbly dramatic, yet at times understated. Put quite simply, this is a magnificent record. That is all that needs to be said.

Prisoner is out now in all good record stores.

ES