Album Review :: Mason Jennings / Blood Of Man

For years Mason Jennings has been “that guy.” The folk singer-songwriter embraced by the indiest of indie crowds; the artist who isn’t so big that it’s annoying (M. Ward), is diverse enough with his sound not to be boring (Iron & Wine), and personable enough on stage to keep you entertained at his live events (Ray Lamontagne). After years of slowly moving forward towards the mainstream, Jennings stepped back -way back– for his new album Blood Of Man.

Not since his self-titled, self-recorded debut in 1998 has his music been this honest and simple, which is saying a lot if you’ve heard anything by Jennings. Armed with a microphone, a drum set, an electric guitar, and some percussion, Jennings essentially locked himself in a cabin by himself to record this album. The result is a new sound from an artist who already had a unique delivery and style. It’s a little haphazard at times, but it’s just awkward enough to work well.

The biggest difference between this album and Jennings’ previous releases is his use of the electric guitar on almost every song, but just because it’s electric doesn’t mean it’s rock and roll. It still maintains the folk sound that landed him a couple of tracks on the soundtrack for the Bob Dylan bio-pic I’m Not There. The subject matter of this album is dark and decidedly more about the world Jennings is living in than specific experiences and relationships, which has been a focus of his in the past. The overwhelming highlight is The Field, an absolutely heart-wrenching account of a parent’s struggle with having a child away at war. Things lose a little steam with Ain’t No Friend Of Mine and Sunlight, a couple of tracks where it seems that maybe Jennings is stuck between what style he wants to go with. In the end that’s part of the fun of listening to artists like Jennings, they open themselves so fully to the listener than you can see the imperfections. Whether or not you like the style of music is beside the point, the humanity of his songs cannot be denied. It might not be his best album to date, but the back-to-basics style virtually assure that Jennings will be making quality music like this for years to come. And that makes us happy.