By Keith Walsh
I like—make that love — the new album by SSQ much more than I expected. Thirty seven years after their debut album, which was the precursor to the massive success of vocalist Stacey Q , this brand new 12 track disc is packed with gorgeous tunes, mostly new, but also a couple updated versions of their classics.
While 1983’s “Playback” was limited by the analog technology available at the time, including the Roland TB-303 Bassline, Roland MC-202 Microcomposer, Roland Jupiter 8 and Simmons drums, “Jet Town Je ’taime” has no such limits. Not only was it not recorded on analog tape like its predecessor, in 2020 the clarity made possible by digital technology is astounding and used to its best potential. “Jet Town Je T’aime” sounds luscious and pristine on my best JBL monitors, as I stream the album on Amazon Music.
And while SSQ’s 1983 album was created largely in an effort to gain fame and fortune, “Jet Town Je ‘Taime” finds creators Jon St. James and Stacey Swain relaxed and free to explore their most artistic impulses. Lyrical topics include an adoration for French culture, celebrations of technology, reflections on human nature, and a love letter to Tibet, where Swain studied Buddhism in the late 1980s. The songs range from downtempo electronica, a funk based tune, and even a Bossa Nova.
I can’t emphasize the artfulness of this album enough. Loaded with European influences, the sounds are mellow, featuring seductive synths, and the expressive guitar lines of St. James, who studied guitar and musique concrete in France before opening his Casbah Studio in Fullerton, California, in the late 1970s. It was at this Casbah that recordings from Stacey Q, Berlin and Social Distortion made each of these act popular names. Swain’s voice has never sounded more smooth and confident. It’s as if, now in middle age, established as having pioneered synth pop in the early 80s, and without the pressure of major labels breathing down their necks, Swain and St. James are now free to release the most sophisticated and lovely album of their career so far.
It’s not easy to find info on this band or release, which is personally frustrating for me, having had friendships (and even a romantic relationship) with members of SSQ. The mystique of discretion does create intrigue, and that may play well to Miss Q’s fan base, but all this does to me is make me madly curious.
Recorded at Jon St. James’ home studio in the hills above Fullerton and released on the band’s Synthicide label, “Jet Town Je t’aime” is easily my favorite set by the creative duo of Swain/St. James. I’m really eager to find out more about its creation. I’ll be reaching out to them in 2020 in the hopes of securing an interview.
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