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Album Review: John E Vistic – What Will Be EP

By on Wednesday, 17th June 2015 at 12:00 pm

John E Vistic What Will Be EP coverI first encountered Johnny V as the support act for Radio 2 favourite Jon Allen at the end of last year at Newcastle Cluny 2. Mr Allen wasn’t my cup of tea, but I found Mr John E Vistic a more interesting character, and for my own benefit, if nobody else’s, it’s worth revisiting my summary of his set: “All told, Vistic does come across as a reasonably genuine article, a young-no-longer musician just trying to make an honest penny from his bare songs.”

Nothing too controversial there, you might think. However, he took enough exception to write to me and give me a six-point plan of how better to compose a music review, including the accusation of my having a “five second attention span”. Sheesh. That’s the same as a goldfish. Come 2015, he’s releasing his newest EP, ‘What Will Be’, and I’ve managed to stop sobbing into my teacup for long enough to have a listen to it. Well, 25 seconds of it anyway, given it has five tracks. Hope that’s enough for you, Johnny?

After which preamble you might forgive me for confessing to a slight irritation that ‘What Will Be’ is actually pretty decent. The title track is an end-of-the-night waltz, perfect for that whisky-soaked smooch with a new friend: an unconventional choice for opener. Slightly more upbeat is old favourite ‘Gamblin’ Man’, with a sound signature familiar from Jon Allen’s work; no surprise, as they share a producer in Tristan Longworth. If you’re partial to a flutter and want to hear the pain of losing made music by a kindred spirit, look no further. This is also an example of Vistic’s stylistic similarity to a certain (whisper it) Robert Zimmerman – his gruff vocal delivery and tooting blues harp solo see to that – but it’s a comparison he’s not very fond of, so I’d keep it under your hat.

One has the suspicion that being radio-friendly doesn’t come naturally to Vistic: in the preceding brace of songs, he’s toning down his literary pretensions and tendency towards darkness in favour of a more immediate, if less complex, reference point. The final three tracks are surely more true representations of his inner thoughts. ‘I Wait for No Man’, with its defiant lyric and big psychedelic climax, sees him unveil the full range of that careworn voice and make large with a distortion pedal and Hammond organ. That’s more like it, frankly. ‘Long Time Gone’ is in a country-tinged rocker and introduces fellow Bristolian Katey Brooks in a bittersweet tale of self-loathing. An acoustic version ‘Til My Loneliness Has Gone’ completes the collection, appropriately embellished with a darkly portentous piano.

The only shame here is that I can’t find anything naughty enough to say that might provoke another irked response from the man himself. Yes, it’s a bit safe, a bit Radio 2, but since that station continues to demonstrate a previously unsuspected fondness for heavy metal, even that particular remark has lost its sting. And a man’s gotta earn a crust somehow, after all. Ok, I give up, I’ll have to settle for being polite. As Vistic’s ‘Gamblin’ Man’ says, “the chance is in the numbers”. So whatever that means, I’m going with it.


‘What Will Be’, the new EP from John E Vistic, is out next Monday, the 22nd of June, via Black Heart Studios. Listen to EP track ‘Long Time Gone’ featuring Katey Brooks below.


Live Review: Jon Allen with John E. Vistic at Newcastle Cluny 2 – 22nd October 2014

By on Monday, 27th October 2014 at 2:00 pm

Usually, TGTF goes out of its way to cover new music, both in terms of the age of the bands themselves, and the neological styles they might come up with. Well, tonight’s show is the complete opposite, featuring the well-worn genre of commercial bluesy pop, played by Brits, but owing a considerable debt to our transatlantic cousins who, after all, kicked the whole deal off a century or so ago.

First up is John E. Vistic, a man whose accent can’t decide where it likes the best – southern USA or southern England – and conspires to combine the two, which means he sounds like he comes from somewhere in the middle of the Atlantic. A pretty damp place to live, one imagines. His music is in a similar vein, clearly indebted to Dylan in its literary pretensions and casual way with pitch, but hinting at English folk. He comes nowhere close to matching the great man’s import, of course, but Vistic himself is careworn enough to provide a decent implied back story: his incapability to look the audience directly in the eye speaks of either a rocky childhood or even rockier adult years. Previously, Vistic has played electrified rock music with a band, but tonight it’s just him, his acoustic guitar, and the occasional toot on a blues harp.

‘Gamblin’ Man’ is a straightforward ditty about the perils of having a flutter; ‘Henry Miller’ is evocative of Parisienne literary decadence, whilst giving a welcome reminder of the eponymous writer’s historical significance; while ‘Miracle Mile’ proves the futility of trying to “do Dylan” – nice try, but no cigar. All told, however, Vistic does come across as a reasonably genuine article, a young-no-longer musician just trying to make an honest penny from his bare songs.

At first glance, tonight’s all-seated audience might as well be in a cataract surgeon’s waiting room, given how much life is in them. Granted, Jon Allen isn’t exactly bleeding edge hipster fare, but surely he deserves better than the gentlest of nods, the occasional foot tap, and polite yet hardly enthusiastic applause. Tonight’s set is inevitably heavy on material from third album ‘Deep River’ – starting with album opener ‘Night & Day’ is astute, showcasing as it does Allen’s fascinating husky-yet-high-pitched voice, which combines Rod Stewart and Paul Simon in a not unappealing tonal embrace. Standout single ‘Falling Back’ is next, perhaps the highlight from the album overall. The band are sharp, experts at delivering that lithe, drums- and bass-led sound which lets the lead instruments do their thing in acres of ear-space.

But as the set progresses, it becomes apparent there’s something amiss. For Jon Allen, the world begins with ‘Bridge Over Troubled Water’, proceeds through ‘Eagles’ Greatest Hits’, and then stops for coffee and puts its feet up with Eric Clapton’s 1992 ‘Unplugged’ set. And that’s pretty much it. The gig is a deeply journeyman affair, with each song knocked out with depressing competence, as, presumably it is exactly the same every night. Minor confusion over the set list becomes a major talking point – ooh, you devil Jon, you played a couple of songs in the wrong order! Don’t tell the music police! As if in an upmarket chain restaurant, everything tonight is perfectly edible, but one can’t help but become increasingly convinced that it’s all just come out of a packet, that one’s taste buds are being tweaked, not because of the chef’s passion for experimentation, but because expert laboratory research has proved that that combination of flavours offends the least number of diners. There’s a bit of cod-funk here, a touch of cod-country there: the trouble is, it’s still cod.

It’s all too trite, too smug, too safe, a toothless facsimile of styles which were originally edgy and meaningful. Music that nobody could object to, except on the pages of a non-mainstream blog. As if that hadn’t already offended enough people, try this: there’s something deeply *the south* about the whole thing. Outside parts of London, and perhaps the South West, swathes of southern England are suicidally tasteless, but not in a scruffy way – more in a new money, white-leather-sofa-and-orange-Audi-TT way, repeated ad infinitum down innumerable streets of overpriced, new-build people-hutches. Streets in which the music of Jon Allen would fit right in. Nothing to object to, nothing to engage the brain about, and just enough kudos to get one over on the neighbours. Something dirty and northern, like Evil Blizzard, would go down like last year’s hairdo. Allen himself, in his corduroy jacket and limply arseless jeans, is the epitome of such a society, making music for middle-aged south-east divorcees to get pissed and snog to. Ugh.


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We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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