where's JEROME

Dear Where's Jerome, I think I love you. I fell in love with you as alive entity, while a little surprised by how electronic your debut EP is, you have perfectly balanced organic and artificial instrumentation. My favourite track is Rescue: the boy-girl harmonies, the acoustic guitar riding the downright funky bassline, the flourishes of synth an plucked strings. Ashtray makes me dance something crazy. Sure, the faux Radiohead moodiness of Karma Confused is a bit old hat, but overall, your prog-pop is mature, catchy and thoughtfully arranged. - Drum Media - LIAM CASEY (issue 22/01/08)

“I just can’t smile if I don’t know, Where’s Jerome” right from the get go they introduce their band name into their lyrics. Is the lead singer Jeremy supposed to be Jerome? But he can’t be singing about himself can he? Or is he?

The first two tracks of their debut self-titled album are pretty chaotic, Sneakers holding all the commotion in their drums and power beats with My Hiroshima producing it in their guitar riff with vocals like Regurgitator (or a more recent reference: Ben Ely’s Radio's I’m Psyched) the rushed delivery of the lyrics making it intense by the subject matter: “Not so bright future if you’re gonna make me leave from my Hiroshima”

Then introducing their Shins vocal influenced Into The Ocean that has entered the lives of iTunes users that like to grab the weekly free track. Great choice to release to the public and is my favourite off the record. But my runner up choice would be Pineapple People. A pretty intro and different from the rest with almost operatic “ooohs” combined with some synth sounding strings and interesting switches going from ballad for the verse and more intense upbeat for the chorus.

Little Onion follows a similar pattern with a more built up chorus then having their verses stripped back. Argh, it’s too hard to choose the favourites! This CD caters for all the things you like in music.

I Never Lose is an electro track that invites everyone to sing along to; “Driving down the motorway, I never get the chance to say/ God loves you/ Driving down the motorway, never get the chance to pray/ 'Cause you’re in love/ You’re in LOVE, woah woah” I think the ignition genesis is hinting you add this to your driving play list and I agree. In fact, add Far From Me on there too; even with the repetitive lyrics it keeps you going (no, I am not writing my review while driving: don’t type and drive! But I do plan to take this disc and put it into the stack for the next road trip).

Touchy Feely follows the anthemic chorus that I Never Lose had. It seems Where’s Jerome has a knack for that but if you don’t quite get them at least reel them into singing along during the chorus “Never never say, ooh yeah, I’m the one who said it better”

This is disc is definitely a mix of all sorts. For example if someone is looking for a more rock versed track I would suggest ‘Love Transfusion’. If he had taken a metal voice approach to it the breaks could on the way to be Killing In The Name- like.

For somebody that likes calm and simplicity I would suggest In Disguise and tell them to enjoy the acoustic guitar, however, I would also tell them enjoy it why it last as it is now track ten and I cannot believe I have reached the end of the disc. If I have to fault Where’s Jerome it is simply that; this listener wants more tracks. A brilliant album debut that you should go out and get. - THE DWARF 31/09/2009

Sydney band Where’s Jerome are attracting the right kind of attention. They’ve received airplay on Triple J and Rage, and their single ‘Into The Ocean’ was recently selected as iTunes clip of the week. Led by former bedroom electro-pop musician Jeremy Smith, they play raucous, keyboard-infused, high-spirited indie rock. Their tunes are catchy as hell, and they pull off the admirable act of being upbeat without sounding cheesy. This self-titled debut is their follow-up to the EP Dreamboat, which was recorded entirely by Smith, and it’s a mixed bag of goodies. The band’s oeuvre varies from fast and slightly punky (‘My Hiroshima’, ‘Touchy Feely’, ‘Love Transfusion’) to somewhat 80s-iinfused rock (‘I Never Lose’) to the moodier and more introspective (‘In Disguise’) to noisy pop with crashing drums (pretty much the rest of the album), all the while keeping the same consistent electro-pop vibe. It’s hard to pick standout tracks (apart from the amazing ‘I Never Lose’, that is), because they all complement each other so well.
Smith’s lyrics are often bizarre, often cartoonish and sometimes ridiculous. This generally suits the music, but it’s also a bit hit and miss at times. He has some killer lines: “I don’t go outside, I’m too scared of Tupac” and “Driving down the motorway, I never got the chance to say God loves you” are both good examples. Unfortunately, he also has some weaker moments when the lyrics seem rushed and ill thought out.
But this is a minor quibble. If you’re looking for melody, Where’s Jerome’s debut delivers stacks of it. Clocking in at just over 38 minutes, it’s a short burst of power-pop glee. For best results, mix with a good mood. - TIME OFF MAGAZINE

Where’s Jerome suffered an unfortunate, but predictable fate: the bandroom was left almost entirely vacated following Soujourn’s curtain call. Its not a particularly pleasing state of affairs for a band that’s come down from Sydney, but the three-piece were in good spirits and ready to entertain those that stayed back to check them out. I, for one, was glad to have been among the few. Jeremy Smith shined with strong, confident vocals, leading by far the most experimental, adventurous band of the evening. Alexandra Sabastian spent the set sandwiched between keyboards, often utilizing effects from both, whilst pitching in to create perfect two-part harmonies with Smith.

Where’s Jerome blends rock and electronica masterfully, at times even indulging in the sweetest of pop-melodies, the upbeat Into The Ocean proving simply delightful. Samples were scattered throughout their arrangements, often heard from the striking of drum pads, as Todd Cetin worked tirelessly. As if I hadn’t been won over, a kazoo made an appearance. A kazoo, people – what’s not to like here? Where’s Jerome have a lighthearted nature about them, with an obvious enthusiasm for their craft that’s a pleasure to experience.

All in all, it was an odd billing, the four bands sharing, at best, tenuous connections to one another. Whilst the bulk of the crowd showed for Soujourn and only Sourjourn, headliners Where’s Jerome took the chocolates tonight. And I took home their album. A win/win situation for all involved. - Fasterlouder.com.au

Aah! this is more like it: keyboards! With drums and guitar completing the ensemble, imagine forcing The Human League and The Dresden Dolls onstage together - pretty amazing right? Where's Jerome? are like that: melodramatic and quirky pop, with a likeable British feel. The material was most notably held together by Todd Cetin's drumming, which recalled - no joke - Yeah Yeah Yeah's Brian Chase. Elsewhere, it was acid-tongued lyrics and kazoo- driven bridges all round. There are a few rough edges of course, but this band comes with the writer's seal of approval: guaranteed to be really quite good. - Drum Media, Live Review - 6/11/07

There is, perhaps, a little bit of drama missing from Australian music. A generalisation certainly (to pre-empt the “Not everyone, what about...” brigade), but one cannot deny that the fear of being deemed a wanker is both deep and determined in this country. It's a shame – pop music should be dramatic, and grandiose, and exciting. I blame Nirvana.

Sydney’s where's Jerome (lower case “w” intended) fill this void. Their self-titled debut album mixes pop sensibilites, expert composition and talented musicianship with just enough drama to be exciting without even coming close to gimmickry. It’s an album of varied emotions and heightened artistic embellishments of the everyday – from the edgy opening track 'Sneakers', with the repeated line, “I don't go outside/I'm too scared of Tupac”, sung in powerful harmony by Jeremy Smith and Alexandra Sabastian, to the beautiful piano lines and angelic vocal backing of the moving 'Pineapple People'.

First single ‘My Hiroshima’ has the power to break your nose and those of all around you – try not to flail with abandon upon hearing it – as Todd Cetin's tight drums kick around under fast and fuzzy guitar lines and sharp keys. Live favourite ‘I Never Lose’ transitions between an ominous, pantomimic slink and an electrified pop chorus, while the furious ‘Love Transfusion’ (complete with trills from a yazz flute!) is a full-on, roaring rock tune, again driven by the wonderful harmonies of Smith and Sebastian. The pair scream the wickedly lewd, “I'm the priest in the church of your leisure”, before the song ends with a gorgeous and unexpected flourishing piano solo.

This is a band that seems able to elevate the rather simple structure of pop songwriting to an art – and this album is a Kandinsky.

by A.H. Cayley
- http://www.messandnoise.com/