Magnolia Electric Company harbour that difficult to pin territory of blues-tinged-americana-alt-country-rock fronted by the hooogely prolific Jason Molina. And they're a band that are sticking with their name after switching from Songs: Ohia having made the high water mark album 'Magnolia Electric Company' in 2003.
'Josephine' has the renowned Steve Albini at the helm once again, shifting aesthetics in a minimalist direction which at times feels too leisurely and mild-mannered for it's own good. Fortunately, it's not a lasting impression, as Molina's power of song craft carries through and a sense of hope and resolution is found, new horizons are there to be discerned, and the ghosts of friends lost are laid to rest.
'Josephine' carries a weight of paying respects to fallen bassist Evan Farrell, and on 'Shenandoah' there's something unashamedly sweet and private in a John Lennon vein, while 'Rock of Ages' is a caressing piano led lullaby and there's a Calexico-like imprint in the horns of 'Song For Willie'. Dislocation, elsewhere, informs 'Shiloh' with Molina singing “the only bridge I haven't burned is the one I'm standing on...”.
The mythic Mid-West landscape of prairies, crossroads and horizons shape the songs like Edward Hopper paintings, and all the lonelier for the ghosts that litter the songs, as on the softly scored 'O! Grace' with Molina singing “...it's a long way between horizons, and it gets farther every day...”, and on 'Whip-For-Will' there's a song for the lost and disenfranchised at the windows of the Southern Cross hotel waiting for their Amazing Grace, while a sense of self-admonishment forms the titular 'Josephine' - “...I lived so long with the shadows, lord I became one of them...”.
There's waiting time to be had before 'Josephine' can be found to rock though, but with a Floyd-like intro of wrangled geetars on 'The Handing Down', Molina creates rock mythology, singing “...here's a turkey feather for his favourite hat, and a love letter from the ace of spades...” as an organ stalks. 'Heartbreak At Ten Paces' is a contender for song-title of the year, while on 'Map Of The Falling Sky' Molina continues to coin the metaphors, singing with a dangerous glint - “...we become the diesel, we become the smoke, the become the prairie, we become the spark...”.
Uncharacteristically, there's all manner of arrangements explored. 'Little Sad Eyes' sounds like it has drafted in the Studio One keyboard legend Jackie Mittoo on a pump organ, while 'Knoxville Girl' gets to grip with a ghost while sounding like an indie Black Sabbath homage. Such foxy contrasts mark 'Josephine' with an elusive and enigmatic quality and Magnolia Electric Co's zenith.
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