Brothertiger Hits the Sophisti-Pop Reset Button for His Best Record yet
John Jagos lovingly explores the 80s and 90s with vintage instruments for a truly authentic throwback experience.
“Trying to be less serious about the music business is a big theme. I’m not trying to conform to the specific ideals the algorithm machine wants me to be a part of; I’m just trying to make music that sounds good.”
- John Jagos on the new self-titled Brothertiger record.
When I spoke with John Jagos, who performs as Brothertiger, earlier this year, his mission for his next record was clear: make the music he wants to make. On top of talking about no longer caring about Pitchfork (welcome to the club), Jagos mentioned that when he sent the album out for mastering, his usual collaborator, Jason Livermore, had a note - the songs sound like they belong in A Goofy Movie. On the surface, it’s a hilarious comment. But after spinning Brothertiger for the past few weeks, Livermore’s take makes complete sense and tells of the genuine sincerity and vision Jagos’ has on his fifth proper long-player.
Musicians usually give the self-titled treatment to their debut album. Still, when a vet decides to go down this path, it typically means pursuing a reset with an offering that plays to their strengths. After his acclaimed Tears For Fears Songs From the Big Chair cover album and four compilations of lockdown-era livestreams in the form of the stunning Fundementals series, it’s only natural Jagos is looking for new trails.
Brothertiger’s early singles hinted at Jagos’ obsession with sophisti-pop and his total commitment to the niche genre that grew out of the mid-80s UK new wave scene. “Heaven” and “Dancer on the Water” are full of vintage synths unapologetically from the era, including woodwinds and a Walkman-worthy electronic harmonica. Meanwhile, “Torn Open” flirts with a shuffling city-pop sound that receives a boost as a duet with Yvette Young, frontwoman for the math rock band, Covet. There are so many moments on Brothertiger to transport Millenial geezers back to our pre-9/11 paradise, and listening to “Torn Open” places the listener at the local cineplex with the smell of popcorn in the air and their Etnies stuck to the floor while MovieTunes plays overhead.
Brothertiger’s nostalgia is well-intentioned and never comes off as counterfeit like many vaporwave and outrun acts that mine from the electronic sounds of the 80s and 90s. The authenticity is earned because Jagos doesn’t rely on modern pads or patches and most of the synths and instruments found here are thirty-plus years old. He also isn’t afraid to explore the inherently cheesy vibes that these vintage gadgets present, like the keytar-esque lead on “Tangerine” or the flutes on “Arizona” that sound like a lost level from Donkey Kong Country. On the fantastic album closer “Wallow,” Jagos demonstrates his commitment by teasing Gregorian chants fit for Enigma, one of the corniest things to come out of the Pure Moods era.
My only note is I wish the moment lasted longer.
Not only is Brothertiger a successful reset, but it’s also Jagos’ best official album. Even when hanging on to his chillwave roots, like on “Summer Wave ’98,” a song that wouldn’t sound out of place on Nick Hexum and George Clanton’s collaboration album, Jagos’ technical explorations are evolved. As we head into another turbulent week, make space to float away with Brothertiger. You’ll thank yourself for it.
This might give Fundamentals Vol. III a run as my favorite Brothetiger LP. I wasn't expecting tracks like "Torn Open" at all.