ALBUM REVIEW: Chronicles Of The Kid – Ayron Jones

If there’s one thing we know about Seattle, Washington – it’s that some of the greatest music of all time has flowed from its streets. From JIMI HENDRIX to HEART and SOUNDGARDEN to FOO FIGHTERS, the calibre is almost second to none (the UK did birth heavy metal after all). Though chalking up a reputable legacy of his own is AYRON JONES, who after having supported DAUGHTRY on their recent UK tour is set to drop his sophomore album Chronicles Of The Kid.

Following 2021’s Child Of The State, Jones takes to the guitar and mic once more to chronicle the hardships of his early life for our listening pleasure. Addressing themes such as parental deaths and the adversities people of colour face in modern America, Chronicles Of The Kid is set to be a powerful and thought-provoking record. Though all is not particularly dour as Strawman’s chunky opening riff is the kick up the proverbial backside we sometimes need to push through our own clouded mind. “I’m a hurricane comin’” accompanies breathy alternative rock vocals steeped in distortion while its anthemic chorus will have the live arena in a chokehold in no time. What of the music itself? The verses are minimalistic, the nuances stemming from interim guitar noodling to a salacious grind between chorus and second verse adding some wonderful texture.

From there, this “child of the flame” takes us through ten tracks of what could have been angst from a man who hasn’t had it easy. Blood In The Water’s murkiness doesn’t dull the stab of the proclamation “I didn’t cry the day she died” in reference to his mother’s passing. Nor does it salve the wound of knowing Jones “couldn’t pray on the day he died / For a man I never knew”. Jones’ voice simply sizzles with pain and carries incredible control. Again the verses are minimal to allow the story to unfold, but when the full band comes in for the choruses, it holds the weight of the cross we all have to bear. Heavy screams pervade the closing moments of the track which then provide fuel for The Title. A testimony to the strength of the mind required to push through life’s adversities, this swinging track starts with some rather out of place vocalising. There’s texture and depth, sure, but sometimes less is inherently more. The Title is a pulsating tune nevertheless and those looking for the inspiration to kick a door clean off its hinges will find it here.

We touched upon SOUNDGARDEN in the intro, but it’s Chris Cornell’s AUDIOSLAVE which serves as the aural well for Otherside. The introduction sounding akin to Like A Stone in its rippling guitar makes way for what we can only describe as restrained vocals. Following such hefty tracks which show Jones’ diversity, it’s strange to hear him hold back. A track prompting us to live in the moment doesn’t seem to evoke the desire to do so as the main instrumental doesn’t change at all – despite an almighty wail from Jones which leads into a solo which just doesn’t hit as it should. What does take us aback however is the commentary in My America, both emotionally and racially charged. Aggressive riffs straighten the spine as Jones asks “How can this be my America when I can’t breathe” in reference to the murder of George Floyd in 2020. Is it a hard track to listen to? Absolutely and it will resonate with some more than others. The melodic solo conveys the swell of tension in a nature which seems damned to repeat the mistakes they had made over the course of time.

Any track which follows My America is bound to suffer in some way and that is sadly what happens with Living For The Fall. Another slow number to bring emotions down, we’re taken through the onslaught of a relationship where “something’s gotta break”. There’s only so long we can lend ourselves to a one-sided connection to the detriment of ourselves after all. It is here though where Jones’ vocal range returns. The smokiness of the verses blends into the smooth choruses flawlessly. The danger this track faces with its chill vibe and melodic approach is it can be tuned out in places. Determined to ensnare our attention, Filthy’s bass led introduction is exactly that: filthy. With his “leather jacket dripping swag”, Jones is more than intense as he sings about the wrongs of the world. It’s close and dense in nature, feeding from the bluesy tones of rock’s ancestry. The nuance of funk guitars nestled within the interlude is a wonderful touch to an already attention grabbing track.

Now we’ve been picked up off the street by Jones, what else is he to do? “I can show you what God believes in” fuels a track teeming with arrogance in Get High. The song’s guitar lines, if you listen out for them, are diary in nature as we “sip supernova champagne”. While the lyrics may read like a pamphlet of the benefits of taking certain drugs, this high could also refer to the high we get from some good loving. We will allow you to interpret that how you will. Though there is no room for interpretation for The Sky Is Crying. The bouncing guitars leading into “they say that there’s comfort in the misery” alludes to a feeling many of us have experienced in our lifetime. We become addicted to our stresses and pains, something Jones is very much aware of within this track. It’s a song and sentiment to lose ourselves within as we too ponder “if I’m not alive then what’s the point in dyin’” to the sound of tambourines and organs. Had this been the closing track, we would have had no issue as it would have been a wonderful cut off point to these chronicles, allowing the next release to potentially pick up where this left off. To this point, On Two Feet I Stand simply doesn’t have the impact the rest of the album has. It feels subdued and like it’s running out of steam.

The closing note of an album will often impact the way we feel about it overall. Yet we would be remiss to discount the entire suite due to one track. Chronicles Of The Kid is at times an intense journey through the life of a somewhat broken soul fighting to regain some autonomy of themselves. Navigating relationships and grief isn’t new ground by any means, but there is something refreshing about ARYON JONES’ honesty. Does it need a touch more refining? Sure. However the raw and gritty nature on display makes Chronicles Of The Kid an imperative listen for those in need of some catharsis.

Rating: 8/10

Chronicles Of The Kid is set for release on June 23rd via Big Machine / John Varvatos Records.

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