Archive Review: Jarboe’s Thirteen Masks (2004)

The enigmatic Jarboe is best known as the musical partner and collaborator of Swans mastermind Michael Gira. A haunting vocalist with an impressive, expressive range and a captivating stage presence, Jarboe has placed a human face on Gira’s often musically oppressive songs. After recording a number of albums with Swans and Skin – an even more musically experimental side project – Jarboe stepped out on her own with Thirteen Masks, her surprisingly diverse 1991 debut. Reissued with three bonus tracks by Atavistic after having been out-of-print for a number of years, Thirteen Masks is worth seeking out for listeners who prefer their music to be unpredictable, exhilarating and intellectually challenging.

Jarboe’s Thirteen Masks

Recorded over a number of different sessions, the material on Thirteen Masks evidently reflects the artist’s vision and mindset at the particular time. Given the stylistic diversity and varied performances, one wouldn’t expect Thirteen Masks to exhibit the thematic and musical cohesion that it does. “Listen” opens the album with an almost prayerlike quality, Jarboe’s lonely voice accompanied by a ringing chime, random percussion, and meager string instrumentation. It is a haunting moment that sets the stage for what follows on Thirteen Masks.

The album quickly jumps into a higher gear, “Red” evincing a dancefloor beat and aggressive, often altered vocals describing various (unknown) aspects of the color red. It’s an interesting and intriguing bit of wordplay, playful and thought provoking with a cacophonic soundtrack. “The Believers” offers Jarboe’s ethereal vocals layered on top of staccato drumbeats and explosive instrumentation, the martial rhythms balanced by the song’s soaring lyrical imagery. “The Never Deserting Shadow” is a folkish, ebony-hued track with beautiful instrumentation and powerful guitarplay matching obsessive lyrics, reminiscent of Current 93.

Two of the most powerful moments on Thirteen Masks come near the end, and the two songs couldn’t seem more different on the surface. “Shotgun Road (Redemption)” pairs a delicate guitar track with Jarboe’s almost-whispered vocals. The reflective lyrics speak of love and salvation, frustration, and betrayal. The gentle nature of the instrumentation belies the fury that lies beneath the words. “I Got A Gun” is equally moving (and disturbing); the repetitive refrain of “I got a gun” an expression of self-empowerment, shouted over a pounding drumbeat and chaotic guitar. When Jarboe states authoritatively that “I won’t stop until I get what I want,” you have to know that it’s true! Of the three bonus tracks, “We Are the Prophecy” stands out, Middle Eastern influenced instrumentation and chanted melodies lying beneath the artist’s breathless vocals.

The Reverend’s Bottom Line

Jarboe is assisted on Thirteen Masks by Gira, Swans’ guitarists Clinton Steele and Norm Westberg and the ever-changing musical terrorist Foetus, among others. The album’s focus and direction are entirely Jarboe’s, however, the music an unreal hybrid of Gothic rock, industrial dance, and dark jazz with the heart of a Delta bluesman and the soul of a German cabaret singer. Jarboe’s emergence as a skilled songwriter is evident, her potent pen blending emotional resonance, spiritual yearning, and a strong defiance of conformity, creating unique and thoughtful lyrical poetry.

Thirteen Masks was a powerful debut, a fiercely independent album too often (sadly) overlooked in the overall discussion of popular music. Restored here with pristine remastering and an expanded tracklist, Thirteen Masks is well worth rediscovery. (Atavistic Records, reissued 2004)

Review originally published by Alt.Culture.Guide™ zine