What the world is saying about THE PRISON BUFFET
Weltenbummler-Poet, Genie, begnadeter Künsteler. Die Bezeichnungen des amerikanischen Künstlers
Chelonis R. Jones sind nicht bescheiden. Doch für solch eine leidenschaftliche Seele geht das schon
in die richtige Richtung, wobei sein Leiden das Schaffen motiviert. Eine große Inspirationsquelle dieses
Genies ist sein Schmerz, seine unstete Seele, seine leidende Psyche - doch Chelonis kontert:
mit Worten, mit Klängen! Heraus kommt ein Ausdruck, den nicht viele Kunstschaffende erreichen.
Wer eigene Bilder von Chelonis gesehen hat, kann den Kampf und die Passion des gebürtigen
Kaliforniers spüren. Als Musiker provoziert er und sein neues Album "The Prison Buffet" ist in dieser
Hinsicht eine Ohrfeige an das sesselfurzige Establishment. Songs wie "How To Entertain Your Colored
Friends" oder "Love Needs An Invoice" markieren Bojen im Chelonischen Ozean, in dem Vieles in
Bewegung ist. Natürlich sind wieder schöne Songs dabei, wie das funktige "Pinwheel Piaf" oder die
dunkle, trancige Elektronummer "The Soiree". Aber es geht in Chelonis'
"The Prison Buffet" nicht ums
Gefallen, eher um Provokation, um Leidenschaft und Erkenntnis. "Ohne afrikanische Trommeln, wäre
Popmusik immer noch auf einem Dudelsack-Niveau", sagt Chelonis und prangert damit die magelnde
Wertschätzung schwarzer Musiker für die heutige Musik an. Jeder Song auf diesem Album ist ein
Dolch, den er sich aus dem Körper gezogen hat und mit leidenschaftlicher Inbrunst auf einem Tablett
serviert. Das Buffet ist angerichtet! (PausB) (5 out of 6 stars)
// RAVELINE ¬ raveline
Chelonis R. Jones is a lo-fi legend, a straight-talking raconteur with his eye on the underbelly of society. Some days ago he released “The Prison Buffet”, an album that stitches together a torrent of emotions using an undeniable lyrical and vocal talent for thread. The Prison Buffet is Jones’ fourth full-length album and his second release on Systematic Recordings. The buffet metaphor is perfect, with each track bringing a different style to the party. For example, accessible, laid-back tune “The Incredible Sulk” is pensive and smooth with its tongue-in-cheek lyrics and title.
It stands in stark contrast to punk-infused, abrasive track “The Irritant (Brain Damage Club)”. It’s like having the blancmange right there on the table next to the lamb vindaloo. Standout tracks include “Pinwheel Piaf” and “Love Needs An Invoice”, with both demonstrating Jones’ heightened awareness of the mechanics of great song writing. The latter is a slow build with some neatly controlled dynamics, an electro-pop delight that is just rough enough around the edges. It’s delicious.
Hailing from NYC, Chelonis R. Jones fled to Europe to pursue his dreams of becoming an artist. His unique style has led him collaborate with artists such as M.A.N.D.Y, Booka Shade, Spektre, Oliver Huntemann and Röyksopp. Fans of these artists will find “The Prison Buffet” an incredibly rewarding listen thanks to its dance music roots. Jones’ unique approach has also ensured a packed touring schedule and something of a cult following on both sides of the Atlantic.
A multi-disciplinary practitioner whose own artwork often accompanies his musical releases, his pared down composition choices reward closer listening with lyrics that bring to mind Brooklyn band The Hold Steady. In “Non (Sense)?”, he speaks of an L.A where ‘avoiding actors is like avoiding palm trees,’ and an earth where ‘no woman… has caught the hell that black women have caught.’ Race is undoubtedly a prevalent theme in his work, and his spoken words have weight as they slide across a warm but gnarled string melody.
On “The Prison Buffet” Chelonis R. Jones wants you to build emotional snacks out of your favourite tracks. Digest it all in one go and its sparse approach means you won’t be left feeling bloated. Instead, you will be craving more. His new material feels even more raw and personal than his previous offerings, a gamble that has unequivocally paid off on this album. (DJ Aroy)
// Actualités Electroniques ¬ Link to review
An American artist of the old school tradition - leaving NYC for Europe in order to pursue a career in the world of The Arts- Chelonis got signed to Get Physical in 2001 and immediately hit it big with 'One & One', a collaboration with Booka Shade and M.A.N.D.Y. on which he dropped his trademarked sexy vocals.
Collabos with Spektre, Oliver Huntemann and Röyksopp soon followed, which further cemented his status as a mainstay in today's electronic scene. The Prison Buffet is Chelonis' fourth album, and his second release for Systematic. The album spawns the sound we've come to know Chelonis for: throbbing deep house, electro bits, poppy elements and the man's abstract, soulful, and sex-riddled vocals as its connecting factor. And if you've been keeping an eye on the man's releases over the past ten years, you won't be disappointed. Wallbooming club tracks such as Pinwheel Piaf, the slightly psychotic The Irritant and Love Needs An Invoice walk comfortably hand in hand with more laidback tracks, although sinister electro stings and roaring synthesizer pulses are present in nearly every track. The crisp clear, envelope-pushing sounds in combination to Chelonis' arty vocals make the Prison Buffet perhaps his best album to date, and a very rewarding purchase for those of you who are looking for hedonistic electronics.
Two thumbs up. The Prison Buffet has become a very original piece of work on which art aesthetics, electronics, and a tea spoon of pop form a remarkable and very cool combo. Definitely worth checking out. (Rating: 7.8/10)
// beats and beyond ¬ Link to review
While many listeners possibly know Californian-born vocalist/producer Chelonis R. Jones best as the vocalist and co-writer of Royksopp’s ’49 Percent’ single, he’s also an extremely prolific solo artist in his own right, with a backcatalogue of around 80 singles to his name on labels including Get Physical and Systematic. Now based in Europe, he’s also an established painter and visual artist, with his earliest 12” releases coming housed in sleeves constructed from original canvas prints fashioned by the artist. In the wake of 2009′s Chatterton, this fourth album The Prison Buffet sees Jones offering up a characteristically flamboyant electro-pop collection that fuses his eccentric and frequently barbed lyrics with a dark muscular rhythmic pulse that’s noticeably touched by classic Chicago house and electro influences.
Opening track ‘(Non)sense’ sets the scene with one of this album’s more downbeat offerings, as Jones’ spoken word monologue describes the story of a runaway girl lost in LA against brooding synth-strings and shuffling cymbals, before ‘Pinwheel Piaf’ launches things straight out into crisp, throbbing tech-house, the relentlessly squelching sub-bass nicely counterpointing Jone’s soaring falsetto soul vocals. If there are occasional echoes of Matthew Dear’s more recent vocal-centred work here or perhaps even Green Velvet, they’re particularly brought out amidst the bleeping analogue synths and vampy tech-house stylings of ‘The Irritant (Brain Damage Club)’, while elsewhere ‘Dark Twain’ sees things entering more pop-centred waters as live drums and stripped-back analogue synths combine with Jone’s New Wave centred vocal to generate an atmosphere that’s not dissimilar to Hot Chip’s sheeny melancholy. Twisted, yet simultaneously classy. (Chris Downton)
// CYCLIC DEFROST ¬ Link to review
... now on with the show!