Jack Cheshire
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Jack Cheshire

Band Alternative Singer/Songwriter


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"Jack Cheshire - 'Allow It To Come On' "Simply lie back and take the title literally...""

Jack Cheshire - 'Allow It To Come On'
"Simply lie back and take the title literally..."
by Jo Williams 15/01/2008

Give a man a guitar and he'll either murder classic riffs or suddenly appear to be a misunderstood romantic. Whatever the case, a man with an acoustic guitar gets attention albeit 50p if you walk past him to work. Jack Cheshire at first appears to be the latest in a long line of hopeless romantics. But there's nothing hopeless about his debut release. It may take a few listens to get used to his mumbled stoner vocals, but 'Allow It To Come On' works a slow charm over you that's well worth the wait. The lo-fi production adds a sense of intimacy and invites the listener to really listen. Recorded in his attic bedroom there's no distractions other than the rain and passing traffic. The 27 year old Londoner might as well be sitting cross legged on your floor. You have a feeling if he was really there he'd have holes in his socks because his lyrics conjure up a sense of sketchiness and childlike vulnerability.

His voice, which is lies somewhere between Chris Martin and Joel Cadbury is soothing with a mellow range to it. One of the lyrics in 'Love' talk of a tightrope. Well Jack Cheshire is walking a musical tightrope of sorts as he balances between being chilled out and boring the opener 'Little Moon', which is a pleasing little lullaby does nothing to dispel this. He has a real rhythm to his vocals which make it very easy to listen to but his lack of vocal range is somewhat frustrating given some of the lovely harmonies he manages in 'Lady Luck' and 'Fireworks.'

But there's some treats in store. The type of treats that sneak up on a person unawares. 'Love' is a gorgeous slab of emotional vulnerability garnished with a deceptively happy melody. Probably one of the highlights of the album for because of the pure candour of it all being matched by a highly memorable chorus and a sense of longing. "All the hours rearranging - keeping yourself free for the night or the morning it arrives"

For all the introspection he manages to keep the lyrics interesting and far from self indulgent. He speaks of things that make a woman want to hug him while men can quietly nod in agreement and maybe shed a few tears in private. Cheshire may implore with the marriage proposal in 'Memory Gland' but 'Allow It To Come On ' will win more than a few hearts. But it isn't all hearts and flowers. 'My Own Parade' shows him in another light - torn between self doubt and self belief. The guitar has more of an edge to it. It's about as close to a strut that we get as he sings "I'm a bowling ball shiny, shiny in the alley- you're the special pin I'm destroying as I go."

He has an ability to take a common scenario and make it sound almost otherworldly thanks to his lovely guitar work. 'For You' takes the thinking of an ex lover to a sublime level - although part of you is conscious he may be using the memory to 'get off' it also manages to sound unabashedly fragile thanks to the minstrel like guitar. "Replay, replay that old parade - I can't forget it wears me out"

Modesty's all well and good, you get the feeling Jack is very modest about his talents, but this album is crying out for more attention. Its low key release means that it'll be listened to by only a fraction of the audience it deserves. The phrasing on the title track makes it sound like a folked out version of 'Supersonic' - it'll be interesting to see how well this does as the first release from the album. 'Allow It To Come On' is an apt name for these ten tracks. Simply lie back and take the title literally. You'll be glad you did. - Gigwise

"Jack Cheshire 'Allow It To Come on'"

Jack Cheshire 'Allow It To Come on'
Sunday Telegraph Seven Magazine 20th Jan 08
By: James Delingpole

Jack Cheshire's winsome, folky debut reminds me of a teenager forced out of bed before midday and blundering about all thick-headed and husky voiced. It gives his home-recorded songs a dreamy, slacker vulnerability that is hugely beguiling. The melodies are pretty and sad, and the arrangements 9all the wibbly, muffled effects with pedals and faders) owe much to late period Radiohead. A talent in urgent need of discovery. - Sunday Telegraph

"Jack Cheshire - 'Allow It To Come On'"

Jack Cheshire - Allow It To Come On
On: God Is In The TV Zine.co.uk
Written by: Matt Churchill

It's only once in a while that as a lowly reviewer, you recieve a record that could be of real significance. This is one of those rare finds.

Jack Cheshire recorded the LP in his North London bedroom, and its lo-fi intensity is reminiscent of one the greatest records of the '70s singer songwriter genre, Nick Drake's 'Five Leaves Left'. 'Allow it To Come On' is a wonderfully arranged work that is every bit innovative as it is using borrowed bits and bobs from various influences.

'Little Moon', has a beautifully crisp melody which is almost child-like in its naivity, but like a child who wishes to be great, Cheshire needs encouragement to come out of his shell and develop - as the record goes on his confidence blossoms. 'Fireworks' is a guitarist's wet dream, with a cleverly plucked melodic lead line that sounds like a master at work.

'Lady Luck' stands out with its bluesey overtones and cracking vocal delivery, which contrasts with the ambient swellings of 'The Old Easy Way' to demonstrate his versatility.

With a sound that is almost like Turin Brakes before they went spiralling downwards, and a voice that is at points fragile, Cheshire has created a wonderfully thought provoking record which is a delightfully spent moment in time.

- God Is In The TV

"Jack Cheshire - 'Allow It To Come On'"

Jack Cheshire - Allow It To Come On
On: 3 Bar Fire.com
Written by: Tim Garratt

Growers... they're the bane of a reviewer's life; they always come back to haunt you at some point. Luckily for me then that I gave Jack Cheshire's bedroom sessions a chance to breathe.

'Allow it to Come On' is one of those albums that you can leave going in the background, only to find that the minimal melodies have crept in and taken root. It kind of broods along at it's own pace and there are some genuinely good songs here. 'Fireworks' is perhaps the high water mark with it's off-kilter rhythm, subtle percussion and floating vocal slowly building into a pool of reverby static.

Gentle, subtle and soaked in late-night vibe, it's a good album to stick on your ipod and go for a walk in the park or something. And whilst the mood is pretty one-note throughout, the songs and arrangements are strong enough to carry it, check out the slide guitars and double bass of 'Lady Luck' for example.

At it's best it takes you back to Pink Moon era Nick Drake, and his almost half-sung delivery hints at a mixture of Adem and pre-Gwyneth Chris Martin. This reference is not meant as derogative, but on tracks such as 'Love' with it's building chorus and soaring backing vocals it could almost be an early Coldplay demo. It is this that makes you think with the right production and rhythm section then Jack Cheshire could be everywhere this year. - 3 Bar Fire

"JACK CHESHIRE : Allow It To Come On"

JACK CHESHIRE : Allow It To Come On
By Peter Coulston
On: Seatwave: backstagepass

I first saw and heard Jack Cheshire at the Borderline back in November where he opened for a number of country rock acts. I felt that his material was a little too intense for an opener at a typically rock venue, but enjoyed the set anyway.

The album takes a few listens in places but certainly grows on you. The opening number, "Little Moon" has a jazz/latin edge to it and he gets darker on the gritty "Fireworks" and the bluesy "Lady Luck", with it's nice slide guitar. The rest of the album is eerie and rather folky in the Dylan/Cohen vogue, though the lyrics certainly belong to Jack. The title song is the most commercial, with it's catchy hook, but I also enjoyed "Memory Gland", "For You" and the closing track, "The Old Easy Way", all of which show off his skill at combining strong melodies with wistful lyrics. If you like your contemporary, acoustic folk to have depth, melody and something that makes you want to go back for more, you will love this album. This is thinking person's pop, well worth spending some time on.
- Seatwave


Album "Allow It To Come On" 2007

Some Airplays of the album:
Totally Radio (UK) - 2 songs - http://www.totallyradio.com/
Radio Liechtenstein (FL) - 2 songs - www.radio.li
SKFM (UK) - live sessions - www.skfm.org.uk/
PVHF, Radio Centraal, Antwerp (BE) - www.radiocentraal.be
PMS, BBC Radio Merseyside (UK) - 2 songs - (www.bbc.co.uk/liverpool Programme Website - www.pmsradio.co.uk



Born 1st September 1980 in Bath, Jack was raised surrounded by 60’s psychedelic music and from an early age he fell in love with the likes of The Beach Boys and The Doors, artists that he is still inspired by today.

Jack picked up his mother’s dusty old Spanish guitar at the age of 14 and after several months of obsessive strumming, started teaching himself electric bass on his dad’s recommendation. Jack never took lessons and developed his own style, playing bass in several local bands.

The bass was his main instrument but he was always privately writing and recording songs. Jack left school at 17 without any a-levels and started working to earn money to travel the world for a year.

Having just turned 21, Jack moved to Liverpool to ply his trade in the city’s unique scene and study music full-time. It was during his four years there that he began to perform publicly with his own material. He continued playing bass for numerous projects, one of which brought him to the Glastonbury festival in 2005. However, it was in October of the same year, he decided to move to London and pursue his musical career as a solo artist.

Starting all over again at the bottom of the ladder in the capital was very challenging but went a long way toward strengthening his resolve and enhancing his performances. Through a fairly unsettled year of working full-time at Oddbins, gigging constantly, bizarre encounters and sleep-deprived bar room madness, Jack started to write a collection of songs that became his first album “Allow It To Come On”.

Recorded in his bedroom in North London, it is a lo-fi and intimate venture that lies somewhere between the depths of Red House Painters and the quirky psychedelia of Devendra Banhart.

Tracked in the sweltering confines of a tiny attic room on Blackstock Road, the dramatic melodies evoke a sense of deep melancholia and the lyrics conjure up a sense of sketchiness and childlike vulnerability. “Allow It To Come On” was released to great acclaim and exciting reviews.

“He has an ability to take a common scenario and make it sound almost otherworldly.” says Gigwise

“…hugely beguiling. A talent in urgent need of discovery.” says The Sunday Telegraph

Live, Jack gives the impression of being “somewhat unhinged, but in a good way” as another reviewer puts it. As a result of playing bass for many years Jack‘s finger picking stile is unusual, which lends his guitar sound a special edge.

Jack is currently putting a band together and already writing new songs for his next album.

“…it's good to see that bedroom recordings are alive and well in this age of over-stated production…a promising debut”
- Drowned In Sound

"It's only once in a while that as a lowly reviewer, you receive a record that could be of real significance. This is one of those rare finds."
- godisinthetvzine.co.uk

"...an intimate otherworldly piece that takes you back in time to Nick Drake’s doomed romanticism."
- subba-cultcha.com

"Growers, they're the bane of a reviewer's life; they always come back to haunt you...Jack Cheshire could be everywhere this year."
- 3barfire.com