Andrew Lawrence Jackson | The Ubiquitous They

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Electronic: Electronica Rock: Adult Alternative Pop/Rock Moods: Solo Male Artist
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The Ubiquitous They

by Andrew Lawrence Jackson

Intelligent electronic alternative music
Genre: Electronic: Electronica
Release Date: 

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  Song Share Time Download
1. Beauty Unleashed
4:30 $0.99
2. Don\'t Think
2:57 $0.99
3. Heart Goes Black
3:49 $0.99
4. Hope For A Redeemer
2:27 $0.99
5. Southern Hospitality
2:29 $0.99
6. Some Future Me
3:38 $0.99
7. Comfortable With Catastrophe
3:01 $0.99
8. Rhythms In Me
3:47 $0.99
9. Android Wish
0:53 $0.99
10. The Day Disco Died
4:42 $0.99
11. Petrol Chemicals
3:52 $0.99
12. Reality Clown
1:28 $0.99
13. Master of Unusual Things
1:19 $0.99
14. Look For Me When The Circus Is In Town
2:27 $0.99
15. Deja Vudu
3:41 $0.99
16. Gag Reflex
3:00 $0.99
17. Troubled Soul
2:01 $0.99
18. The You You Are
3:40 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The Ubiquitous They is the 11th solo album from Andrew Lawrence Jackson, an American alternative singer-songwriter-poet and multi-instrumentalist.

This is Jackson's most electronic album to date, inspired by classic synths and drum machines, and hip-hop/rap rhythms. The Ubiquitous They was written, arranged, performed, recorded, and produced entirely by Jackson (he also designed the CD cover art).

This CD is a departure from the style of Jackson's previous albums, but the heart and soul of this music is as profound as ever. Seemingly disparate genres and styles blend effortlessly as Jackson shows his hand as a composer of electronic music. In composing the songs, he wrote the words initially, then composed the music on acoustic guitar, then transposed the songs to synthesizers and other electronic instruments. Lyrically and sonically rich, The Ubiquitous They cuts a wide swath of epic indie electronica and prophetic poetry.

A veteran of the 80’s San Francisco scene, Jackson was a founding member of both the techno-pop Science Patrol and the post-punk band Zru Vogue. He uses an intuitive writing technique to craft his uniquely personal songs, which often tend toward existential themes.

"I’m on a roller coaster ride
First I’m up then I’m down
And in the circus of freaks
I’m always playing the clown
I wore a painted on smile
That I crafted from a frown
So look for me baby
When the circus is in town"

(Lyrics copyright 2008 Andrew L. Jackson)

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Reviews


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Russell Barajas

Rhythm & Wonder Unleashed
Always the Master of Unusual Things, this time Andrew Jackson has created an album that is both spoken narrative and funky, layered retro-electronica punctuated by his singularly magnetic guitar.

The Ubiquitous They is comprised not of tracks but rather of chapters that flow from one to the next. The introduction, Beauty Unleashed, is cool, dark and oddly nasty. Momentum builds in Don’t Think, hurtling us forward into a world seething with desperate people and rush hour madness - and then Jackson’s staccato anger steps, without a break, into Heart Goes Black. In fact, it can be difficult to separate the songs of this album one from another because they all seem to be part of a continuing dark monologue Jackson is having, railing at a world mired in denial and self-gratification.

Yet each song, though woven closely with the one that came before, has its unique place, and Jackson’s talent is to get into your head - in some cases, quite literally. Listen to Some Future Me on headphones: that’s him, crawling through your brain from ear to ear, sometimes far away in the distant reaches of your skull, other times nestling right between your eyes.

He sings, but most often on this album Jackson is in rap/chant mode. It puts the emphasis on his lyrics, his voice becoming an instrument of percussion, sounding out his poetry atop the synth and guitar that underlie it. This is especially true of the hissing outrage of Deja Vudu, the song that was the catalyst for this album. Gag Reflex, the next song, might almost be Deja’s chorus.

In the last two songs, Troubled Soul and The You You Are, Jackson allows us more guitar and sings us out. There is a Bowie-esque theatricality about The You You Are; the circus is in town, and as we exit the midway, we leave behind a crowd of spectators and the lonely notes of a calliope. Jackson has ushered us from the Big Top, and we find ourselves in silence outside tent flaps. But then, we can go back whenever we want. That’s what replay is for.
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