I'm Ok...You're Ok

Jason Falkner (a distant relative of author William Faulkner) is probably one of the most low-key men in music today. I find this odd, because he started his musical career as the lead guitarist for Jellyfish (the ‘90s neo-hippy/day-glow-Beatles pop band). After parting ways with the bombastic, flashy Jellyfish, Falkner drifted in and out of bands…eventually he recorded two critically successful (but commercially tepid) albums: PRESENTS AUTHOR UNKNOWN and CAN YOU STILL FEEL? Then Falkner vanished for eight years. What was he doing? Well, Jason pays his bills by playing guitar (as a session musician) on some pretty big records. Here’s a short list of some of the people Falkner’s worked for: Travis, Weezer, Air, Lisa Loeb, Aimee Mann, Beck, Rufus Wainwright, Chris Cornell, and Sir Paul McCartney. The heavy hitters turn to Falkner because of his immense talent and technical prowess.

Falkner takes the term “solo artist” to heart. He writes all the songs and plays all the instruments (drums, bass, keyboards, etc.). I really admire this about Falkner, but this obsession with doing it himself (coupled with his chronic perfectionism) makes for some LONG waits between albums. That’s why when I found out he was finally putting out a new record, I bought it (despite the fact that it’s initially being released in Japan only and therefore cost an arm and a leg).

I’M OK…YOU’RE OK finds Falkner doing what he does best—mellow indie-rock. Like his past two albums, I’M OK…YOU’RE OK is pretty autobiographical. Songs like “Komplicated Man” and “NYC” are all about him. Wearing his heart on his sleeve, Falkner sings honestly about the complications of life and love. Nothing too terribly shocking when it comes to pop music, but it’s the sincerity with which Falkner writes and sings that makes him stand out. Also, in many of his songs Falkner doesn’t always paint himself well (sometimes it’s his fault the relationship doesn’t work out) and sometimes he gets rejected (the dude must be dumped all the time, I can think of three songs about him being rejected by various women).

All of this openness can turn some people off, and while the lyrics are “honest” they are by no means “easy.” Many of the songs are hooky, but this fact only because apparent after multiple listens. Like many of his indie-rock peers, Falkner’s music must be listened to several times before it will click with you. Once his songs take a hold of you, though, you’re humming them all day. The closest thing to a single would have to be “The Knew” (my personal favorite on the album)…which also surprisingly has a great guitar riff.

And here we come to Falkner’s greatest flaw. His talent is coveted because it’s so technical, so precise…and in a larger work, by another artist this is a good thing. Falkner’s playing style and clean tones get the job done AND sticks to the background (where it belongs) allowing the artist paying him to take the spotlight. Well, unfortunately for Falkner, his guitar work is…for lack of a better word…boring. And that’s a shame too, because Falkner writes some really catchy tunes. I have a feeling that this album is awesome when it’s performed live—when Falkner’s performance is rawer. Some of these songs sound like a robot is playing, rather than a man. I love Falkner (hell, I paid $34 for this record) but I know this is what’s keeping his career as a solo artist from taking off. The guy needs to loosen up.

Not to say that everything is musically vanilla on I’M OK…YOU’RE OK. “The Knew” as I mentioned has a great riff. Likewise, the fifth track “Hurricane” is brilliantly layered in spaced out textures. I was also impressed with “Runaway,” which to me is the most ‘classic’ Falkner track on the record—thoughtful, introspective lyrics coupled with an exotic sounding keyboard arrangement. Overall the album is highly listenable, and stands up well next to Falkner’s other two solo-records. Glad to have you back Mr. Falkner.

Jason gives I'M OK...YOU'RE OK a "B"