We last heard new music from Jack Stauber around the release of his 2018 album, HiLo. It was an album in a canon of better-than-decent DIY work that Stauber produces from his room. Synth-driven and lyrically fueled, the sequence leant perspective to the sharpness of vision that the artists has always shared. Now, here we are with a new visual from the artist, and it’s called ‘Baby Hotline’
Often off-kilter, always engaging, Jack Stauber has evolved into a space which he occupies with a self-effacing dignity. Through extraordinary videos, VHS art, and musical excursions Stauber is not interested in trying to be a mainstream commodity. He’s not trying to be a normal band, nor is he replicating the sound of more commercially successful DIY artists. That said, this is not an artist interested in the self-conscious obscurity that many employ as a substitute for genuine complexity or depth. The game here appears to be a pursuit of authentic self. There’s no better game. ‘Baby Hotline’ scans like a template to the artist’s approach in all things.
Claymation. Scratchy VHS production. Stop-motion. Sweet paintwork. It’s all there. The internal rhymes of the track cascade through a more sweet than bitter bitter-sweet scene. Jack Stauber has a smile that he subdues, but only on his lips. There’s something about the kind of exuberance displayed on ‘Baby Hotline’, even during the more reflective, or sad aspects of an expression, that extend empathy between artist and audience. It’s this lightness of touch that makes Jack Stauber such easy company.
Weighing in at less than a minute’s duration ‘Baby Hotline’ fits more in the template of Stauber’s video art. Punchy, pithy, and to the point – there is something here that demands instant replay. Maybe a new album’s on the way. Maybe Jack Stauber should release a video album. We can’t wait.
HURRY – BUY – JACK STAUBER MUSIC