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The effect this record has, with its remedial drumming, crappy store-bought synth presets and faux-sensitive, third-form lyrics, is as pleasant as unnecessary eye surgery.
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It's the most weirdly mesmerizing in a series of promising single, EP, and full-length releases that includes last year's shadowy, cinematic heart-tugger "A Place Where We Could Go."
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The recording perfectly reflects the aesthetic of the world Jay has imagined, and both Calvin Johnson and Bob Schwenkler deserve praise for accurately materializing Slow Dance’s wintry, yet robust landscape.
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Not every moment on Slow Dance is this transporting, but it still has its share of fascinating moments.
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Jay has stepped through the mirror to the other side to bring us Slow Dance, and he has triumphed like the best pop idols, engaging our imagination while being simultaneously cool and strange, tender and tough, arty and poppy, traditional and innovative.
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Slow Dance is a winning collection of songs, calling to mind Stephin Merritt minus about 20 recording tracks or Sparks in a reflective groove.
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Under The RadarIt's a fine line between mesmerizing and droning, and, on Slow Dance, Jeremy Jay has unfortunately tip-toed across it. [Spring 2009, p.72]
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His quietly unsettling aura perfectly suits these childlike love songs.
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The L.A./Paris musician has a voice reminiscent of Owen Pallett’s and tends toward cutesy (see aforementioned Gallop). But these cloying idiosyncrasies are stirring on darker songs like Canter Canter and the title track.
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Listening to his simple melodies, uncomplicated structures and often disinterested vocals, the cool with which Jay approaches Slow Dance is unmistakable, and it is largely the single element that carries the album.