Review: Jill Andrews Reminisces on the Reflective ‘Modern Age’

Jill Andrews
Modern Age
(Vulture Vulture/Tone Tree Music)
3 1/2 out of 5 stars

She’s an “80s baby,” singer/songwriter and ex-The Everybodyfields co-founder Jill Andrews explains on the opening track to her third solo outing. That sense of feeling part of another, perhaps simpler time—one with boom boxes, Blockbuster Video, and calling friends instead of texting them—is the thread running through some of these ten reflective tunes.

Introspection comes naturally to Andrews. Her previous solo set, 2020s Thirties, examined the difficulties of being a single mother. Songs here such as “High Fives” reminisce about the songstress’ younger days when life was, if not necessarily easier, at least less stressful. She sings about a close friend Your mixed tapes playing we’re / Drivin’ N’ Cryin’ never thought about dying / I miss missing high fives…with you…in the afternoon. When is the last time you heard that band referenced in a song?

As you might expect, the music that accompanies these meditative reveries is appropriately subtle. But it’s not snoozy. Producer Lucas Morton brings contemporary fizz with overdubbed vocals, occasional drum machines, and synths, all supported by Andrews’ sweet, dulcet, and humble vocals. Even the most laid-back tracks, such as the piano-led “Wrong Place Wrong Time,” are enlivened by tasty backing from cello (included on about half the cuts), and towards the end, a classical choir that appears, then dissolves to highlight lyrics Your glass can be half full but your cup’s the empty kind about someone who can’t feel gratitude for what they have. It’s one of the disc’s most dramatic, moving, and melodic moments. But Andrews also shifts to pure pop on the album’s first single, the jaunty, effervescent “Connection,” displaying another side to her contemplative, occasionally retro, approach.

Headphones will help appreciate how meticulous and detailed Morton’s work is. He takes these modest, often dreamy, indie pop slices and enhances them through thoughtful, detailed studio instrumental and vocal overdubs that never feel intrusive yet prevents the sound from getting repetitious.

Still, the ballad-heavy collection could use additional upbeat inclusions to balance the overall somber tone. But Andrews’ songs are beautifully crafted and the production molds even the more pensive selections into minor masterpieces that might not click on the first go-round, but will with a few extra spins.

The album closes with the gorgeous “Boundless Love,” which affirms her tranquility as Andrews intones I’m a child of the flowers and the trees/When I look up to the sky I’m at peace, leaving us with the understanding that she accepts this modern age, even as she longs for earlier eras.

Photo by Fairlight Hubbard  / Missing Piece Media