After a hair-raising set at Download Festival last year, Ayron Jones is looking to accelerate his growing international reputation with his fourth studio album, Chronicles of the Kid. Though the Seattle native has a tremendous amount of hometown musical talent to live up to, it means that he also has a legendary pool of local musicians for inspiration, with Jones counting Kurt Cobain as one of them.
Despite this, he has managed to carve out his distinct sound, distancing himself from the grunge genre that once dominated his Northwestern state. Fusing rock, soul, and blues, Jones shows just how much of an adaptive and versatile musician he is, and with a history of being able to do this so adeptly, he makes Chronicles of the Kid an exciting release.
Straight off the bat, the album explodes into life with ‘Strawman’, laying out just what to expect from the next 35 minutes. It’s a bold, riff-heavy track packed with emotion, emphasised by Jones’ passionate vocals. It’s a strong start. ‘Blood In The Water’ starts with slow moody guitars that reflect Jones’ tortured lyricism as he builds up to an electrifying climax that also exudes passion.
The record’s third track, ‘The Title’, is super catchy, exhibiting powerful hooks and motivational lyrics that will give listeners more than a little extra oomph. While musically, ‘The Title’ hits all the right buttons, the lyrics seem to straddle the line between being self-assured and self-aggrandising, perhaps ultimately landing on the wrong side of the fence. It’s a shame because Jones clearly has a lot of story-telling potential that might have been used to create a more interesting song. ‘Otherside’, however, is a real success. It’s a wonderful demonstration of how Jones can blend different genres to create his unique flavour. It starts, both instrumentally and vocally, as R&B with elements of trap before quickly shifting into hard-hitting rock. The two styles continue to intertwine throughout the rest of the track as it builds up to an absolutely ripping guitar solo.
The next song, ‘My America’, is another catchy song featuring riffs and solos galore. Though powerful, it sounds a touch formulaic and anthemic, especially after repeat listens. Despite the unoriginal sound, there’s enough skill and intensity to make it a decent track. Then, at least initially, ‘Living For The Fall’ offers some respite from the onslaught of Jones’ brutal shredding. A slow introduction leads into a series of relatively mellow guitar solos before Jones unleashes hell for a thundering solo at the two-and-a-half-minute mark. ‘Living For The Fall’ comes across as one of the more thoughtful tracks on Chronicles of the Kid.
If Chronicles of the Kid didn’t have enough attitude up to this point, Jones turns everything to ten for ‘Filthy’, not least his swagger. And for this, it’s one of the album’s biggest tracks. It lacks any of the intricacies of ‘Living For The Fall’, but then it’s hardly looking to be subtle. This same vibe is carried over into ‘Get High’, though is turned down a notch or two. Despite being catchy, just as with ‘My America’, it can feel a bit formulaic and therefore unremarkable.
‘The Sky Is Crying’ really emphasises Jones’ more soulful influences. It’s a gorgeous track that adds a feel-good factor to the closing passages of Chronicles of the Kid. Its gentler tone results in it getting a little lost in the sheer power of the rest of the album, which is unfortunate because it’s an outstanding song. Chronicles of the Kid finishes with ‘On Two Feet I Stand’. Here, Jones provides a violently poignant last chapter that fits well with the rest of the album. It’s an energetic riff and solo-laden piece that’s an epic end to an authoritative fourth album from Ayron Jones.
Chronicles of the Kid marks the chapter in Jones’ career that cements his signature style. And while not every song is a success, the album has enough variability, raw power, and heartfelt emotion to make it a genuinely entertaining listen.
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