It has been seven years since Jamiroquai released an album, and no doubt they were looking to improve on the fairly mediocre reviews for that last one: Rock Dust Light Star. In the years that've elapsed since, the world has changed quite a lot. Automation has been increasing and unemployment rates have soared due to companies relying on machinery instead of manpower.
Naturally, Automaton focuses on this threat and at the same time presents a soundtrack to a dystopian world, integrated with robotic life that we could come to see in the near future. Does this album prove to be a psychic prediction of the future, or as misguided as Back to the Future’s expectations of 2015?
Automaton bursts to life immediately with "Shake It On”, a track that performs as a good opener to the album, setting the tone by utilizing an array of synths and electric keyboards (which are heavily used throughout the record here). Jay Kay's catchy vocal delivery fused with the beyond-funky electronic instrumentation showcase what Jamiroquai does best, and graciously welcomes the listener into the world of Automaton. These two classic hallmarks make a convincing case for this to be the most radio-friendly tune on the album. It could easily stand its ground on a mainstream radio station, admittedly perhaps not as easily during prime time, or alternatively in the cantina from Star Wars: A New Hope.
The title track "Automaton" is the album's venture into the genre of vaporwave. If it was not for Jay Kay's distinct throaty vocals, at times this could pass for a track in the film Drive; that visually stunning Ryan Gosling flick with a soundtrack that relies heavily on
Although the track fades, the music relents, just like automation.
There have been comparisons between Jamiroquai and Michael Jackson from early on in the band's life and Jay Kay, of course, cites the King of Pop as an inspiration. It's not hard to see the similarities between the two in "Cloud 9", a track that sounds at times like a remastered outtake from Michael Jackson's Off the Wall era. The fervidly catchy melody and funk-laced guitar strums are what makes the first half of Automaton so stellar, and as a big fan of Off the Wall this is a personal highlight that I will likely revisit despite being only a casual listener of Jamiroquai.
"Superfresh" is a standout on the album. It hits peak Jamiroquai levels of Jamiroquai and has, surprisingly, not been released as a single yet. The vibrato-drenched electronics add a lot to the dense atmosphere, as does the consistent bass line which mimics the aforementioned merciless nature of artificial intelligence. An unnatural, electronic voice that features on the track shapes the distinctive dystopian vibe Automaton successfully forges. On the whole though, "Superfresh" succeeds by providing a relative contrast to the darker themes on the album. Whereas a lot of the songs feature heavily on the theme of dystopia, “Superfresh” sounds
The first "meh" moment of Automaton is "Hot Property". Although it starts off promising, with a beat reminiscent of Daft Punk's "Around the World," it is quickly derailed by an uninspired, familiar vibe and a rather redundant sample of a deadpan female Russian vocal sample. This suffers the first accusation of being a "filler" track but, for what it's worth, would make for pleasant background noise.
Despite the loss of momentum, "Something About You" reignites the flow with bouncy synths and a fun, earworm melody. Upon first listen to this track, I could not help being reminded of a 90s' washing detergent commercial when hearing the refrain. I mean that it a good way; it has a fun, jovial air about it and, moreover, provides a light relief much like “Superfresh”. This track even manages a reference to Candy Crush, almost certainly an attempt to critique modern society's obsession with repetition that periodically hooks humans up to a screen for no real world gain, an extension of the machine they play it on.
Just when the album had regained its pace, "Summer Girl" came and made things complicated. "Hot Property" had some redeeming features, but this one is generally quite boring. The only interesting thing about "Summer Girl" is the employment of James Bond-
Luckily, as inconsistent as this album presents itself, these poor songs are redeemed once again. This time it is "Dr Buzz" who resuscitates Automaton, not with a defibrillator, but with a saxophone, and paired with the electric guitar riffs provide an aural reference to the soundtracks of 90s' police films like Lethal Weapon. Fitting, considering the use of excerpts from police scanners, perhaps used to reinforce the Bladerunner dystopia the album is evidently trying to pay homage to. Jay Kay also keeps it current with a reference to the Black Lives Matter movement against police brutality.
Sadly Automaton runs out of gas around here, and the last three tracks tarnish what is, for the most part, a very solid album. "We Can Do It" is suitable background music but definitely a filler like "Vitamin."
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"Carla" is a lame song to end on considering the album's relative success and signals not only the end of Automaton but also the death of any more musical ideas from Jamiroquai for the next four years or so.
Overall Automaton is a somewhat powerful record but the end carries itself as, honestly, quite
Grant Gillingham is a contributor to Daily Lobo Music. He can be reached at music@dailylobo.com
