Many people (minus those that watch Disney religiously) don’t see Joe Jonas as a qualified musician. The Jonas Brothers, where Joe Jonas sang lead, were much of a joke to just about anyone that wasn’t between the ages of five and eleven. However, that was then, and this is now. Joe Jonas has grown up in a way not many people would expect, coming into his own style with Fastlife, an album many wouldn’t expect from a not-so-young face that was just a Disney kid for a while.
I’ll admit that I don’t care much for Joe Jonas, but I do care about Jimmy Fallon. The reason I mention this is because Joe Jonas happened to be on the show a few nights ago. I didn’t recognize him or his voice when he sang one of Fallon’s old song, “Idiot Boyfriend.” Decked out in a new haircut, he was like a new person to me. His voice was jazzy and clean, effortless in a way that made me want to hear more. This is when I learned about his new album, and yes, I checked it out.
I would recommend everyone at least give him a chance. I’ll admit not the entire album is worth listening to, but that goes for every album. His work is an odd mixture between semi-electronic and pop, which falls flat during certain songs (Loveslayer – well, what were you expecting with the name?), but shines for other songs (Alll This Time, Sorry).
One of the best songs is the first song. “All This Time” has an intriguing undertone of what attempts to sound like electronified drums that keep the pace, and I like it. I like what it does for the song: it keeps it moving, it keeps Jonas’ voice fresh and paced throughout the song. It gives his slightly jazzy voice a place to shine, and it works out well.
Another track that proved to be a high point for me was “See No More,” a semi-stripped, electronic track that highlights Jonas’ voice. It’s one of those typical Top 40 songs, but at the same time, isn’t. I love the lack of overpowering electronic effects; it brings out a voice worth hearing. “Lighthouse” and “Sorry” had similar effects in that Jonas’ voice becomes the centripetal force of the song when effects are taken down a notch. In particular, “Lighthouse’s” odd offbeat and indie feel appeals to me as the direction Jonas should be heading in: a style of music where his he doesn’t try to fit into the molds made by previous artists.
Can’t say the same about all the tracks, though. Maybe I’m just not a huge fan of Top 40/Electronic Songs, but “Kleptomaniac” was a low point for me. The lyrics are catchy and I understand how it was first somewhat appealing and edgy, but his voice is not enough to carry this song through to the end. This attempt to add some electronic dance music to his track listing was a poor decision on behalf of whoever let that slide.
That track is, sadly, not alone in terms of odd electronic music. I hoped for more stripped down performances, like he showed the public on Jimmy Fallon. His voice is beautiful when not accompanied by multitudes of weird electronic effects. I understand the need for breaking away from that acoustic idea of the Jonas Brothers, but this isn’t the direction he needs to head in. It’s probably the exact opposite. However, don’t get me wrong, a few of the songs are worth listening to. The rest, however, seem like a sad attempt at trying to fit into a mold. With a voice like his, Joe Jonas shouldn’t be trying to fit into any mold.
Favorites: See No More, All This Time, LightHouse.
By: Samantha Tatro, the intern with opinion.