Last month, Canadian-born and now Melbourne-based singer-songwriter Brian Campeau released his latest record, Brian Campeau Presents Jo Dellin And The Bone Spurs. You may well wonder who Jo Dellin is. Well, once you give the record a listen, the penny drops.
Brian is a brilliantly creative and talented singer, songwriter and musician. Great vocals with a wide range, an absolute gun on the guitar, and never afraid to spread his musical tentacles into dark corners – it’s never a dull moment with Brian. I first saw him supporting Elana Stone at the underground 505 club in Elizabeth Street in Sydney way back around 2009, and have keenly followed his music ever since.
The album takes its stylings from country, folk and bluegrass. There is an exploration of various forms of jodelling (you might call it ‘yodelling’!), but at no point does it feel like you should be drinking a stein and wearing your favourite lederhosen. His writing tends to be introspective, sometimes melancholic, and always authentic. He is often dissecting himself or a relationship that hasn’t worked out.
Brian has pulled in some of his favourite Melbourne musicians to add a kaleidoscope of instruments to the mix. There’s some lovely pedal steel, a dash of the vibraphone, piano, saxophone and more.
If you are a fan of Angel Olsen, Beck, Sufjan Stevens, Neil Young or Bon Iver, then you should find plenty to love here.
Brian has penned for the AU, a track-by-track breakdown of the album. So do press <play> and read on!
Brian Campeau Presents Jo Dellin and the Bone Spurs – Track by Track
Overview
OK so first off, I like my albums to work like films in the sense that the songs are best presented in the context of the entire album, from start to finish. Sonically the album is telling a story which is best understood in order. Similarly, a reader should not begin a book at the 4th chapter. With that, here we go.
“What Am I Doing?”
This piece is the top and tail of the album, though done with different instrumentation in both. I wanted to begin the album with the sound of a sunrise if that makes sense. It’s meant to lure you peacefully and comfortably. The title of the track refers to my feelings of imposter syndrome in making a jodelling album. I suppose you can almost hear me sighing before saying the song name.
“These Waves”
Actually quite an old song, and not a jodelling one at all. BUT it really fit within the sonic story. The album is meant to have a psychedelic aspect to it, and this one is definitely within that vein. Lyrically, the song has to do with owning your actions and seeing that positively.
“Do Yourself”
A (somewhat) country-jodelling song, written very soon after a very sad break up. Basically saying “you do you, I’ll do me” as I struggled to explain my reasons for breaking up. Though I’ve done some work in rectifying the situation, the feelings of hurt are still rather present. Although I could practice what I preach and follow the advice of the previous song….
“Short Poppy”
This is an interlude, which is an acoustic dismantling of the later song “Tall Poppy”. I’ve always like repeating themes and motifs in albums (The Wall, Downward Spiral…) as it helps an album’s cohesion. It prepares you for what’s to come.
“Aint Having Fun”
Another slight jodelling song with a heavy country sound. Bob Dylan‘s Self Portrait has always been an important album to me, and this is a big nod to that album. Lyrically, the song refers to another break up (this one not rectified), and how I was made to feel from someone who was rather careless of their actions. Funnily, we were together when I started deep diving into the world of Swiss and German jodelling.
“Carpet”
I wrote this one during the first lockdown. I was part of a song writing group led by the amazing Kate Lucas (of Coda Chroma), where she would give the group a single word (in this case, Carpet) and off you go. Since I was trying to focus on jodelling, I figured I would give a massive nod to Jimmie Rodgers. I love him. This song is meant to be taken as tongue firmly in cheek. I’m not trying to pretend I’m something I’m not, I’m just approaching the song in the same manner as Ween approaches different styles.
“Tall Poppy”
Another very old number that I had written for a blindfolded performance (long story…). Anyway, this song, though so different in sound, is very much inspired by Swedish metal band Meshuggah (a big favourite of mine). The subject matter is a reflection of allowing creatives who push boundaries to succeed, rather than only promoting artist who tow the line. I think media often shoots itself in the foot by remaining safe.
“Ruby”
So this is one of my first attempts at using Swiss jodelling in my own contemporary music. This brings on the imposter syndrome dramatically, but I also feel that it was important on my part to put this out as a challenge to current music, and to demonstrate that jodelling isn’t just lederhosen at an Oktoberfest. There’s a whole aspect to jodelling which comes so close to classical music too, which needs to be appreciated. The lyrics don’t refer to any personal life events, but is more of a nod to the infamous Ruby of multiple Bluegrass songs.
“Plans”
Another non-jodelling song that was chosen to help mesh the album together and to show a heavier side to the compositions. Pretty simple, and a reflection of having a rat-race job and realising you’ll never have a holiday.
“Song For You”
Another attempt at Swiss jodelling, this time with a bigger nod to the original Swiss and German song format. It’s cute I think, and the lyrics are about my love in the mountains falling for another man. That jerk.
“Home”
This was a bit of a hard song, emotionally. Same person as “Do Yourself”. After having gotten a Neumann M49 fixed for someone, I took it home and did a one take recording. It’s such a short song, but because I know exactly how I was feeling at the time of writing it and performing it, it kills me every time. So it’s a bit heavy for me.
“What Have I Done”
Finally the tail, which is similar to the top. This time I had Sam Alvarez play some vibraphone which I adore. I think he even references “Silent Night” somewhere, which is always a good thing (like the only christmas song I like). The chords themselves (One to Four) is meant to be a huge nod to Franzl Lang. If you don’t know him, look him up. In fact go you Youtube, and look up his 1993 live gig and go to the 7 minute mark. It’s so incredibly beautiful.
Brian Campeau Presents Jo Dellin and the Bone Spurs is out now – you can stream it HERE or, better still, purchase it on vinyl and CD HERE.
Be sure to keep in touch with Brian via Instagram, Facebook, Spotify, and Apple Music
Header image supplied by the artist
