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The disc sometimes lacks sonic oomph, and the mid-section is less unique, borrowing new wave staccato guitars and sing-yelping styles from fellow Victorians Hot Hot Heat. Things pick up again at the end with three slices of relaxed indie pop.
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High on Jackson Hill doesn't quite trump "Fables" the way that album outclassed its precursor, but it's hardly accurate to call this a disappointment.
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So, while you couldn't call this effort beige, it is still clear to see that it is lacking the necessary punch to make it a classic.
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If you really feel you need another Canadian choral indie troupe in your life, this is worth a punt.
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It might seem like a weird time for an up-and-comer like Immaculate Machine to put out what’s essentially a “transition album” this early in their career, but as High on Jackson Hill proves, not only is this band capable of pulling off any style they want to try, but they do so with good taste and undeniable charm.
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Therein lies the personality crisis of Jackson Hill: The sole connecting thread for all these tunes is a band whose love for its craft just barely surpasses what a hodgepodge mess it often is.
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Under The RadarThis is an interesting group and I would love to see them take more risks next time around. [Spring 2009, p.66]
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A letdown after Fables; whether haughty, homesick, or ha-ha, on the way toward frankness, the album gets bogged down in simplicity.