Is it bad that we now kinda-sorta regret wanting Jamie Woon‘s debut to adhere closely to the eerily dark soul-pop model of it’s breath-stopping jump-off “Night Air”?
Don’t get us wrong. Woon’s Mirrorwriting houses some nice, vaguely dub-steppy nocturnal grooves, and his voice–creamy and soulful, and refreshingly to the point (no unnecessary runs and ad-libs found here)–is never not arresting, but so much of the album is so perfectly fitted for one specific setting (ruminative nights alone in the dark with just a glass of wine to keep you company) with few of the songs catching the same riveting spark as “Night” did on first, second and fifteenth listen, that it tends to lean a little too dull and one-note as a whole, leaving us longing to switch off his album and replace it with the far more versatile templates of the artists’ he appears to idolize and/or is reminiscent of (Maxwell, Robin Thicke, Justin Timberlake, late ’90’s Timbaland).
If we were to recommend one track beyond the album’s excellent first two singles, however, it would have to be “TMRW”. As a rare JW (relatively) uptempo moment, it’s an immediate standout, boasting some summertime-friendly piano bounce to support Jamie’s beautifully multi-tracked yearning for the clean slate re-start that’s promised with the arrival of a brand new day.
“Alright/ Let’s take it from the top again/ Rewrite/ The pieces that ain’t fitting in,” he smoothly croons. Hopefully, when it’s time to re-start a new album, he’ll include more pieces like this to balance out the (still quite good, but better in smaller dosages) low-key offerings.