Over the course of the past two or three years or so, I’ve managed to spill quite a bit of virtual ink covering the Israeli-born, Paris-based singer/songwriter, guitarist and JOVM mainstay MAGON. And with the release of Out in the Dark, the Parisian-based JOVM mainstay quickly established a sound that at the time, he dubbed as “urban rock on psychedelics.”
Late last year, the Israeli-French artist released his critically applauded sophomore album Hour After Hour, an album that sonically was a decided change in direction with the material being “somewhere between Ty Segall, Allah-Las and The Velvet Underground” according to the Israeli-born, Parisian artist.
Magon closed out the year with his third album In The Blue, an album that saw him drawing from two completely different sets of influences — 70s rock like Lou Reed and Led Zeppelin and contemporary influences like Mac DeMarco and Devendra Banhart. Written around the birth of the artist’s daughter, the album is centered around what may arguably be some of the most introspective songwriting of his growing catalog — while featuring a more assertive delivery.
In the lead-up to In The Blue‘s release, I wrote about three of the album’s singles:
- “The Willow,” an introspective bit of 70s-inspired art rock, that follows its characters on a trip to Egypt, where its primary narrator sees the titular willow. But interestingly, the trip serves as a larger and deeper metaphor for its characters, who are all desperately trying to find something — perhaps themselves or a deeper, hidden truth?
- “Egyptian Music,” a slow-burning vibey ballad of sorts, centered around shimmering and reverb-drenched guitars paired with impressionistic yet introspective songwriting — with the song equally evoking nostalgia and regret.
- “Forever,” vibey, mid-tempo song that’s one part AM rock, one part post-punk centered around impressionistic lyrics touching out regret, forgiveness, love and time and its inevitable passing sung by a narrator, who seems burnt out by just about everything.
Continuing upon a remarkably prolific period, the Israeli-born, French-based artist’s forthcoming album A Night in Bethlehem is slated for a June 3, 2022 release. Last month, I wrote about A Night in Bethlehem single “Hailey’s Comet,” a dreamy bit of psych pop centered around glistening and reverb-drenched post punk-like guitars, a simple back beat and fluttering, intergalactic-like feedback that touched upon the immensity of historical and cosmic time.
The song’s narrator spends the song wondering how life and humanity will be the next time Halley’s Comet passes by our part of the cosmic neighborhood in 2061. How many of us will be around? What will we say about this moment to our descendants? Will history be kind to us?
A Night in Bethlehem‘s second and latest single, album title track “A Night in Bethlehem” continues a run of trippy, psych rock centered around a chugging motorik groove, angular bursts of guitar paired with a razor sharp hook, intergalactic feedback and Magon’s ironically detached vocals in a song that thematically explores the surrealist fringes of mysticism.
Fittingly, the accompanying video for “A Night in Bethlehem” is a lysergic trip through both Bethlehem and the cosmos.