Sedation – Clay Joule (reviewed by Dave Franklin)

Music has, by and large, become entertainment,  something to be listened to, enjoyed, and then discarded. It is a quick sonic hit that brightens the evening, and then, having fulfilled its purpose, it is forgotten. That is, obviously, a generalisation because there are still artists out there who understand that just the process of making and releasing music gives you access to a powerful platform, one that can be used to disseminate ideas to the masses.

It has always been a hallmark of protest music, from early rock and roll to 60s folk to punk to hip-hop, but it is largely absent from the modern music scene. This is ironic as the need to use art as a means of starting dialogue, sharing ideas, and making points is needed more than ever.

But Clay Joule has always understood how such a system works and been great at using it. While his music errs on the side of the accessible and easily engaged with, such an image belies the power of the messages that he propels through his songs. It’s a brilliant juxtaposition.

This time out, he is reminding us that, ironically, it is the very foundations and groups who tell us that the use of everything from coffee to alcohol to drugs is wrong, – i.e. the gatekeepers of organised religion – are the same people who seem to be advocates for war…or at least happy to stand by and watch whilst war is carried out in their name. Drugs are harmful, they say, but bombing people who think differently from you out of existence is God’s will. The message here is that if we used such stimuli and recreational sedations more purposefully, would we not be able to usher in a more enlightened, collective free-thinking, individual and independently-minded way of looking at the world. And wouldn’t that lead to more advocacy for peace? It’s a pretty strong argument, don’t you think?

And as always, he wraps these critical debates and dialogues up in excellent pop-rock music. Sedation has plenty going on; soulful guitar lines and soaring solos come courtesy of Alex Gusinski, and again, Elisa Mammoliti adds some gorgeous vocal textures to Clay Joule’s no-nonsense drumming and lead voice. But it is new collaborator, Slovenian bassist Amadei Sarsanski, who really leaves his mark on the song, able to meander in and out of the main sound, adding smart musical runs and gentle grooves, a combination of  melodic leads that pair up with the guitar rhythms and the more traditional driving bass role.

A former drummer, he switched to bass at 16 years of age and developed his skills at Jazz Camp Kranj under the mentorship of big band leader Ales Avbelj. Since then, he has honed his skills in every size and genre of band and can be found today playing funky ska with Smetnaki and blues rock in Masharik, among others. He makes a welcome addition to the Truwan Studio stalwarts.

As always, Clay Joule pulls off his greatest sonic trick, making seemingly infectious and mainstream rock and pop a vehicle for some of the world’s most necessary and timely discussions. It seems that while politicians play their theatrical games for the benefit of TV audiences, it is to art, once more, that we must look, if not for answers but certainly for the most poignant debates.