Jesca Hoop – Selective Memory Review

What does Jesca Hoop sound like?

Rustic folk with jagged edges and an elegant ramshackle power behind it.

The review of ‘Selective Memory’ by Jesca Hoop

Californian-born and Manchester-based singer-songwriter Jesca Hoop has a clever knack for revisiting her previous releases to rearrange them. Her first three albums have already received the stripped-back treatment, now it is time for her 2017 album ‘Memories Are Now’.

For this release, Jesca Hoop is joined by bandmates Chloe Foy (who we already champion on Higher Plain Music) and Rachel Rimmer for a beautiful rendition of the nine tracks from the original. Don’t expect big drums or dramatic moments. Instead, the vibe is much more subdued but complex. What is different (I believe) this time, is that this rendition was recorded live, whereas the previous stripped-back versions were not. Personal favourite ‘The Lost Sky’ is like a needlepoint snake weave of guitars and layered vocals that awkwardly spill out over the speakers. The searching and desperation of the original is ever-present, but now it sounds like an inner mental chatter that won’t turn off, rather than feeling external.

Elsewhere, ‘Animal Kingdom Collective’ lets chirpy electric guitar strides and high-pitched coos and oohs bring a spritely bounce to the track before hazy choruses bleed out more sinister tones. Across the album, there is a bluegrass/electric banjo vibe across the performances. This was present in the original album, but with all the other instrumentation stripped away to guitar, bass, and vocal, it sounds more American than ever before. ‘Simon Says’ could be sung in a barn or a pub, and you’d want to raise a pint to it. It has that country rowdiness to it. ‘Cut Connection’ sounds like a Nina Nastasia track, with minimalist guitar rhythm and melody that’s ready to explode from its tension. Jesca Hoop says herself, the tradition for these albums is to give a stripped-back as-live performance, and that’s where the electric performance really breathes. The tracks move between playful to haunted with ease, and that’s part of their hypnotic charm.

Recording the songs live lets the songs breathe, too. ‘Songs of Old’ gets a stunning rendition, leaving time for Jesca to ponder over each line before being backed up for a sweet and arresting vocal finale with Chloe and Rachel. If I heard this live, I bet you’d be able to hear a pin drop. It’s indie folk at its finest. ‘Unsaid’ is a heady, witchy swirl of fast vocals and three-chord fingering. Switching between domestic bliss and domestic frustration as the guitars gallop around the kitchen makes it a cute and endearing rendition. ‘Pegasi’ works as the perfect follow-up. Slow, unfolding, bluesy, and beautifully underplayed, it’s another hidden gem. The album is bookended by electric guitar chuggers, which feel more tense than dramatic because of the smaller scale of instruments.

‘Memories Are Now’ took time for me to truly appreciate, but this live recording is an instant stunner. It unveils some gorgeous songwriting, wrapped up in fine musicianship and emotive performance. I really appreciate and value that Jesca Hoop returns back to her albums to give us an alternative version of them. Both can co-exist and be better suited to different moods and situations, but both showcase what a fine artist Jesca Hoop is. Bravo.

Recommended track: Songs of Old

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