Washington D.C. based singer-songwriter Jason Keisling creates beautiful emotional soundscapes within his music, as displayed on latest album release, In Finite. His music sounds very diverse, combining together elements of rock, pop, classical and folk music together in lovely style.
By Jane Howkins
There are eight songs on In Finite, with As If The Sea Should Part being the first one up. The track starts out fairly slow, with an atmospheric guitar melody melding well with the beat. The little piano motifs mix well with the strings. There’s a lot to unpack here, so it will take a few listens to be able to appreciate everything fully.
Dark Matter is the title of the next song, opening with a simple yet lovely piano melody. Strings are added along the way, with the tension slowly being built up over the course of the track. It should be noted that all the songs on this album are instrumental in nature, but this allows the listener to truly take in all the music on offer. Jason has created something truly beautiful on Dark Matter – vocals simply aren’t needed here.
And The Rest Is Rust And Stardust has more of an ambient vibe, with a slow piano melody starting the song off, alongside some swirling synths. The synths help to create a huge sound, with small electric guitar melodies being added over time, creating a sense of urgency within the music. The track suddenly explodes in a huge fragment of sound, with some amazing guitar solos emerging, before the tone quietens down a little more into a new, more haunting melody. This was my favourite song on the album.
What We Know Is A Drop, What We Don’t Know Is An Ocean uses the sound of a flowing tide as an opener, before an almost discordant piano motif starts. Strings are slowly added, with the music really helping to capture the themes of the track. This song has more of an epic, cinematic vibe to it.
Summer Triangle is a little less dramatic than the previous two songs, having more of a positive feel overall. Again, it’s another slow track, this time featuring the sounds of nature playing in the background. The piano weaves in and out of the string section, with a fingerpicked acoustic guitar melody being added later on.
Lyra sounds atmospheric from the start, again having a luscious string section. The tempo builds up slowly, turning into more of a mid-tempo number towards the middle of the song. Multiple guitar melodies intertwine, with the guitars being the real star of the music here.
Open Sea opens with layers of synths, before a haunting piano melody appears. This is another track with a build-up to it – the guitar melodies seem to match the piano, with a rolling percussion rhythm being added in the background. The song suddenly gets a lot heavier in the middle, turning into a fully fledged rock number.
The title track, In Finite, is the final track to appear on the album. It’s a much more stoic affair than the previous number, with epic strings and piano melodies creating a thing of beauty. The song rises up towards a moving crescendo of sound, rounding the album out nicely.
Jason Keisling has created a thing of beauty on In Finite. His music may be instrumental, but there are a huge amount of ideas and genres at play here, showing that he is extremely talented at writing and composing music.