I could tell you that I was really really excited about this, but you would've read that somewhere before.

I could tell you that this song is taken from a contender for album of the year, but you would've heard fifty of those (all average) already this year, and we're only a quarter of the way through.

I could tell you all the blogger/critic cliches I could think of, and there are many, but it wouldn't achieve anything if you didn't believe a word.

The truth is you don't have to believe a word. These are just sentences to validate and enable your opinion of the music that one way or the other you have already decided on. You don't build or lose trust in me, the author, you build it and lose it in the publication - my word will only ever be as strong as the place you read it. The real truth is that the only important thing is the music, and getting you to hear the music in the first place is my only goal, I'll write about anything I love and hope that I can persuade you to listen.

I don't believe that upscaling rhetoric in our online hyperbolic cold war will make much difference to that - I figure I can type pretty much whatever I like and you'll still scroll down and give the song thirty seconds. I figure you'll share it online if you like it, that you'll mark the name Pat Jordache in some recess of your brain for further attention, or you'll go and buy the album. Either that or you'll click away, give something else thirty seconds or so and keep repeating the cycle until you find something you do like. That's the reason most modern pop music hits the chorus within a minute of the song starting, and the reason that all track write up's are at most two paragraphs (yeah, sorry about that).

When the device became king it's content slowly adjusted to conform to our transitory interest in it, it stopped challenging, it lost depth, it sought to reinforce the validation in your niche interest that your device so readily provides.

Pat Jordache is different, in our current climate he is practically alien, he spent three years concentrating on this album, releasing it on his own Banko Gotiti label, allowing the level of focus and attention that these songs deserve. When you listen you can tell it was worth it, you can tell that these songs have been obsessed over until they were perfect, that he was right to not conform to existing norms, to the disposable nature of our tastes, to ask for a little more from us. His music challenges you to listen intently because of its intricacy but remains instantly accessible, it warrants your attention but above all else is fun and danceable. It does deserve a little more.

This track, 'Anonymous Woman', is taken from his upcoming second album Steps. It is an explosion of sounds and colours that shouldn't make sense, an unravelling collection of oxymorons playing off against each other, it's multiple layers of instrumentation pull in different directions until they cancel themselves out. Its ironed out clashes make a weird aural jigsaw puzzle and the resulting noise is a wonderful mess of melody, you can find a different way through the sound each time you listen to it, and there is joy to be had in the journey.

In writing this I worry that not everyone gets the same intense pleasure from listening obsessively to music so complex and beautiful, because after multiple listens I'm sure there is a whole different song happening underneath the surface somewhere that I am yet to find, and that to me is a rare and positive fucking delight, and I wouldn't want anyone to miss it.

Also, if you are from Toronto, Montreal or New York you are in luck - Pat Jordache is playing these dates in May/June.

  • May 8th - Toronto - CMW x POP Montreal Showcase @ Silver Dollar Room 8PM
  • May 8th - Toronto - CMW: Double Double Land 12:30AM
  • May 15th - Montreal - Bar "Le Ritz" PDB
  • May 27th - New York - Elvis Guesthouse
  • June 19th - Toronto - NXNE: TBA