After the Curtains Close Jonathan Bree

• 1 Happy Daze 03:36
• 2 Heavenly Vision 03:11
• 3 Waiting on the Moment 03:05
• 4 Kiss My Lips 03:19
• 5 Until We're Done 04:12
• 6 In the Sunshine 03:48
• 7 Meadows in Bloom 02:36
• 8 Cover Your Eyes 03:16
• 9 Children 03:25
• 10 69 02:08
• 11 No Reminders 04:36
• 12 After the Curtains Close 03:23
• Total Runtime 40:35

Info for After the Curtains Close

Jonathan Bree's fourth album »After The Curtains Close« sees the producers trademark orchestral pop take a few unexpected turns both into the experimental and into kitschy territory populated by some of his french heroes of the 1960s. The end result is an album that retains Bree's musical DNA while being fun and varied. What could be described as Bree's »sleazy« album could also be described as Bree's break-up album. Dealing with the break-down of a major relationship Bree opens up to reveal a year of loneliness and mental trauma while also channelling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man.

Bree strikes a great balance here between darkness and silliness and he does this without appearing snide, which is a line some artists can seem all too happy to cross. Bree's vocals are on display in a full range of styles, his baritone croon jumps octaves and everywhere in between across the 12 tracks and he is even present singing his own back-up vocals in child like falsetto.

Opening track »Happy Daze« is a ray of heady sunshine and wall of strings celebrating worrying about nothing else while in a lovers arms. First single »Waiting on The Moment« has been accurately described as a celebratory break-up song, with cynical and slightly mean lyrics set to a grand and danceable 80s pop arrangement. Bree celebrates new romantic encounters with fun orchestral pop songs full of double entendres (»Heavenly Visions«, »Kiss My Lips« feat Princess Chelsea, »69« feat. Crystal Choi) and his talent for writing for the female lead vocal has not been so obviously on display since his work with The Brunettes, also evident on »Meadows in Bloom«, a tragic Shangri-La's inspired narrative about the pitfalls of sleeping with the drummer, in which Britta Phillips (Luna) takes lead vocal duties.

"Since the dissolution of the Brunettes, Jonathan Bree has quietly put together a string of albums that are as inventive, emotionally complex, and sonically pleasing as anything done by anyone treading the same orchestral pop-meets-indie singer/songwriter boards that he does. After the Curtains Close follows in the footsteps of his previous work as it combines heavy strings, deeply melancholy lyrics, melodies that sound familiar and strange at once, and through it all, Bree's knack for delivering a subtle punch of a hook. The tracks veer from chilly synth-heavy ballads ("Children") to girl group pastiches (the Princess Chelsea-sung "Kiss My Lips") to breezy indie pop ("Heavenly Vision") and heartbreak epics like the Britta Phillips-sung "Meadows in Bloom" or "No Reminders" that sound like the heavenly meeting between Lee Hazlewood and Magnetic Fields. While the record is certifiably a Bree creation, there are some differences to be found. The lyrical content is more sexually charged and a little desperate at times, dealing as it does with the gently debauched fallout from a breakup. It's not enough to distract from enjoying the songs; there are just a few moments -- like on the song "69" -- where the listener might think "did he just say that?" Along with this shift, there are some songs that have a more modern pop sound than usual. The slickly crafted "Waiting on the Moment" has the punch of a Peter Bjorn and John track, "Happy Daze" adds sequencers and a glossy radio-ready finish, and "Until We're Done" has the sleek, nocturnal feel of music culled from the soundtrack of a neon-filled film. These alterations are more upgrades than problems, though, and show that Bree is expanding his reach to places where people outside his already-established circle of fans might accidentally end up discovering his music. That may or may not happen, but for those in the know, the tenderness and precise beauty of After the Curtains Close will come as no shock. It's another near-brilliant exercise in restraint and underplayed feeling that cuts just as deep as music made by those who shout their pain from the rooftops. Bree has never done that and, judging by the unbreakable fine string of albums he's made to this point, never will." (Tim Sendra, AMG)

Jonathan Bree

Jonathan Bree
is a musician from New Zealand, known for melodic compositions where he croons about modern life and love, over string parts that slide precariously between notes and dulcitone chimes. The end result is a musical palette one could describe as dark Disney. These elements are present in his breakthrough viral hit, ‘You’re So Cool’. ​

His live shows have also gained him a cult following across the world. Masked band members in pioneering clothing are set against a backdrop of cinematic projections created specifically for each song. Unusual for an indie act, he also has two dancers who perform other-worldly choreographed routines along with the music. ​

After ‘You’re So Cool’ went viral, many likely assumed Jonathan Bree was a new artist. He began writing his own songs at age 9 and performed live as a drummer in his cousin’s band until age 13. This was interrupted after being sent to live in Australia with his father, who was an aspiring cult leader. Bree subsequently left home and independently navigated his teenage years. ​

When Bree returned to New Zealand, he formed The Brunettes, who in their active years toured the world and released music through Sub Pop Records and Bree’s own label, Lil Chief Records. The frustrations of trying to take this traditional route to success saw him take a long break from releasing his own music. In the interim, he happened to produce the song ‘The Cigarette Duet’ for Princess Chelsea (in 2011) and directed it's viral video. ​

When he finally returned to releasing his own music it was as a solo artist with the album, The Primrose Path (2013). His only promotion for it was uploading to YouTube an album length video of himself watching shows on his laptop in bed accompanied by his girlfriend and cat. ​

Bree’s second album A Little Night Music (2015) saw him embrace a more cinematic approach, while retaining strong melodies and hooks. Nonetheless, it is his least pop-focussed album to date and leans more heavily on classical soundscapes - Nick Cave meets the Nutcracker Suite. It was during this album campaign that Bree first introduced the concept of his period piece masked band. The debut single/video ‘Weird Hardcore’ (2014) featured his musicians appearing as if within a skewed timeline, think Amadeus meets The Old Grey Whistle Test. It's rumoured that around this time Jonathan acquired a time machine… ​

In the lead-up to his third album Sleepwalking, he released ‘You’re So Cool’ which was named Time Out New York’s Video of the Year. Sleepwalking (2018) has a heavy orchestrated element featuring real strings, horns, celeste and soprano vocals. His arrangements draw distinct influence from orchestral pop of a bygone era (think Lee Hazlewood & Nancy Sinatra), but many of the songs dip in and out of the avant-garde in a way that is also distinctly modern. ​

Jonathan Bree’s fourth album ‘After The Curtains Close’ due for release July 17 2020 sees the producer's trademark orchestral pop take a few unexpected turns both into the experimental and also into kitschy territory populated by some of his french heroes of the 1960s. The end result is an album that retains Bree’s musical DNA while being fun and varied. ​

What could be described as Bree’s ‘sleazy’ album could also be described as Bree’s break-up album. Dealing with the break-down of a major relationship Bree opens up to reveal a year of loneliness and mental trauma while also channelling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man. Bree strikes a great balance here between darkness and silliness here in that he does this without appearing snide, which is a line some artists can seem all too happy to cross.

This album contains no booklet.