QRO’s review of Stephen Malkmus & The Jicks at Brooklyn Steel in Brooklyn, NY on January 25th, 2019
Photos of Stephen Malkmus & The Jicks at 2015 4Knots Fest in New York, NY
Photos of Stephen Malkmus & The Jicks at Brudenell Social Club in Leeds, U.K. on January 13th, 2014
Photos of Stephen Malkmus & The Jicks at Brudenell Social Club on August 2nd, 2012
QRO’s review of Stephen Malkmus & The Jicks at Tunnel in Milan, Italy on November 19th, 2011
Photos of Stephen Malkmus & The Jicks at 2011 Constellations Festival in Leeds, U.K.
QRO’s review of Stephen Malkmus & The Jicks at The Arches in Glasgow, U.K. on November 11th, 2011
Photos of Stephen Malkmus & The Jicks at 2008 Siren Music Festival on Coney Island in Brooklyn, NY
Recently, Stephen Malkmus has been doing some things other than his usual work with his Jicks, like a solo electronic record in last year’s Groove Denied (QRO review), and soon to revive his nineties alt-iconic act Pavement for a second time (QRO review of 2010 reunion). So new solo folk album Traditional Techniques doesn’t come completely out of left field, but is still a weird excursion, not without merit, but you want him to get back to what he does best.
Drawing on the obscure ‘weird folk’ of the sixties and seventies, Malkmus meanders all over the place on Traditional, from the eastern psych-folk of opener “ACC Kirtan” (sitar included) to full-on woodwinds of “What Kind of Person” (flute included). While those are the most extreme pieces, and there’s still the occasional wry SM like “The Greatest Own In Legal History” and guitar wail SM with “Xian Man”, if “sitar” and “flute” put you off, if you never like George Harrison’s weirder stuff, even stronger songs like single “Shadowbanned” won’t make this a record for you.
So if Stephen Malkmus wanted to do this, needed to do this, fine – particularly if it helps get us another Pavement reunion. But this is not the SM you’re looking for.