Howard Jones – Transform (Album Review)

transform slide - Howard Jones - Transform (Album Review)

Howard Jones – Transform (Album Review)

howard jones 2019 - Howard Jones - Transform (Album Review)One of the unique artists who defined the ’80s phase of New Wave/Synthpop music was Howard Jones, and the enduring Englishman continue to explore the genres and give them a good name.

Born on February 23, 1955, in Southampton, Hampshire, England, Jones has always been ahead of the typical pack, pushing the envelope of creativity. Since the release of his debut work, 1984’s Human’s Lib, he never faltered in creating new music. To date, he has 10 studio albums on his sleeve, the last of which was 2015’s sonically diverse Engage. Now, the New Wave icon is ready to unleash the follow-up, titled Transform.

Slated to become available on Friday, May 10, 2019, Transform finds Jones paying homage to his Synthpop roots. Not that he ever abandoned this style of music with which he has long been associated; but with the immediate predecessor Engage and a couple more albums released in the 2000s, Jones has trekked other musical possibilities—mostly cinematic, acoustic, and experimental. Transform, however, is a return to the New Romantic balladry and Synthpop sheen of his ’80s masterpieces—in particular, 1985’s Dream into Action (“Life in One Day”) and 1989’s Cross That Line (“Everlasting Love”).

Transform opens straightaway with the classy and classic sound of “The One to Love You,” which will instantly transport the listener to that youthful space of old, where swaying with waving hands in the air was a matter of life or death. Still in the same dancey mood, the ensuing “Take Us Higher” has, in contrast, been glazed with the punch and dub of Modern Dance music; the initiated may hear traces of also ’90s Alternative Dance bands such as Pop Will Eat Itself (“Eat Me Drink Me Love Me Kill Me”), Jesus Jones (“Trust Me”), and The Farm (“Groovy Train”) combined with the early Synthpop style of The Human League (‘Being Boiled”) and Heaven 17 (“Temptation”). Another interesting stylistic mashup is the ensuing “Beating Mr. Neg,” which starts as an Electroclash dancefloor stomper only to transition dramatically into a New Romantic track reminiscent of Jones’s recent single “Joy.”

The title track is a change of mood—bit subdued, tad soulful; more in line with Jones’s Sophistipop excursions. Definitely an album highlight, “Hero in Your Eyes” harks to Jones’s classic Synthpop sound; it will not go out of place on a playlist that includes classic New Wave tracks such as a-ha’s “Train of Thought,” Duran Duran’s “(Reach Up for The) Sunrise,” and Kajagoogoo’s “White Feathers.”

With the Sophistipop ballad “Tin Man,” Jones turns slightly melodramatic and inspired. And then there is the full-on dive into balladry as “At the Speed of Love” plays next, vibing off breezes of “No One Is to Blame,” taking the listener down memory lane. After this moment of stillness, Jones then soars again with the upbeat and sunny “Eagle Will Fly Again,” which was first released as a part of the original soundtrack of the 2016 film Eddie the Eagle.

The second-to-the-last track is inevitable—the piano ballad “Mother,” which gives recognition not only to the “lights of homes” but also to Jones’s heart for impassioned love songs. Finally, Jones concludes Transform with the celebratory funk and flicker of the discotheque glory “Stay with Me,” which was woven in collaboration with BT of the American Electronic duo All Hail the Silence.

Unarguably, Jones belongs to the pantheon of ’80s-peaking, great New Wave singer-songwriters, alongside the likes of Nik Kershaw (“Wouldn’t It Be Good”), Gary Numan (“We Are Glass”), and Adam Ant (“Kings of the Wild Frontier”). Transform is just another testimony of this greatness—a documentation of Jones’s ability to adapt to the changing musical landscape without sacrificing or losing his indelible trademark. Cryptic Rock gives Transform 4 out of 5 stars.

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aLfie vera mella
aLfie vera mella
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Born in 1971, in Metro Manila, Philippines, aLfie vera mella is a healthcare worker, singer/songwriter, and editor/writer. He was the frontman of the ’90s-peaking Philippine Alternative Rock / New Wave band Half Life Half Death, which released a full-length album and several singles on Viva Records. aLfie worked at Diwa Scholastic Press as an editor/writer of academic textbooks and supplementary magazines, focusing on Science & Technology and English Grammar & Literature.In 2003, aLfie migrated to Canada; he has since been living in Winnipeg, Manitoba. He works full-time at a healthcare institution, while serving as the associate contributing editor of Filipino Journal—a local community newspaper in Winnipeg—tackling Literature, Languages, Cultures, Lifestyles, and Music.As a means to further his passion for music, he formed the band haLf man haLf eLf. He now performs with another band, The Psychedelics.aLfie has been a music journalist since the mid-’90s for various print magazines as well as websites. He began writing album reviews for CrypticRock in 2015.In 2016, aLfie published Part One (Literature & Languages and Their Cultural Significance) of his Essay Series, Can You Hear the Sound of a Falling Leaf? His next planned literary endeavor is to publish the remaining parts of the anthology and his works on Poetry, Fantasy Fiction, and Mythology.In his spare time, he enjoys reading books and listening to music. He participates at various community events; and he explores the diverse cultural beauty of Canada whenever his schedule permits it.aLfie is a doting and dedicated father to his now ten-year-old son, Evawwen.

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