Alan Sparhawk’s latest musical incarnation, Alan Sparhawk Solo Band, presents a new double A-side. This release is a far cry from his second solo album White Roses, My God (2024), which featured exciting, bassy, synthesised beats, layered with auto-tuned vocals. The Trampled by Turtles collaborative album in 2025 also marked a musical departure. This joint effort comprised considerate and charming compositions, with, often, reflective and melodic lyrics guided by a healthy dose of country instrumentation, plucked and droning.
A quick recap of Alan Sparhawk’s incredible music legacy
Guitarist/vocalist Alan Sparhawk and his wife Mimi Parker (drums/vocals) formed venerated slowcore pioneers Low in Duluth, Minnesota in 1993. Referring to Low’s Double Negative, in his 2018’s best albums summary, The Guardian’s, Alexis Petridis, wrote “In a world of predictable political music it seems unprecedented. That’s partly because you don’t expect a band to make their masterpiece 25 years into their career […]. But it’s mostly because, for all the vague precursors you could throw its way – from My Bloody Valentine to Radiohead’s Kid A – Double Negative didn’t sound like anything else, in Low’s back catalogue or beyond.” Low released 13 studio albums but ended when Mimi Parker died in November 2023.
Now for Alan Sparhawk Solo Band
Following the two Sparhawk disparate releases a question emerges. What road will he take himself, and listener, down this time? Side A is titled ‘JCMF’. Initially ambiguous but out the block we are greeted with driving, jagged guitar and sporadic drum fills and bass notes. The first few lines of lyrics reveal the meaning of JCMF – Jesus Christ Mother Fucker. (Be careful not to add a comma after Christ, reader…)
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Second coming of Christ, you say Mr Sparhawk? Don’t expect to be lulled to sleep by hopeful, twinkly guitar lines while dreaming of parties in the streets, mass prosperity, and endless celebrations of Christmas. This is a composition to match the subject matter: resurrection. And it seems the resurrected is not pleased. Sparhawk’s vocal delivery yearns over a drum line that modulates frantically between groove and powerfully disconcerting floor tom fills. It makes for a performance of epic proportions by Eric Pollard on drums.
Inevitably, one finds themselves wondering, what are the motivations of Jesus Christ, within Sparhawk’s earth-shaking imagining? After studying the lyrics, presumably humanity’s systemic status quo has angered him greatly, perhaps a position we should all adopt. I know I’m on your side, JC.
Sparhawk explains ‘JCMF’
Sparhawk said: “‘JCMF’: This is a song I’ve had for a few years, but couldn’t find the right way to play or record it. We started playing it last year in the Alan Sparhawk Solo Band, on tour, and with each month, the sentiment of the song only increased. I feel like the song has become a rebuke against the fascist/authoritarian streak that several world leaders have taken on and to the people who have been blinded into supporting them.”
The second track, ‘No More Darkness’ is somewhat of a juxtaposition musically speaking to ‘JCMF’ but couples wonderfully nonetheless. Where I warned assumptions shouldn’t be made about ‘JCMF’, this is number with the twinkly and hopeful tone provoking all the intended emotions.
It was initially released on another collaborative work titled Passages: Artists in Solidarity with Immigrants, Refugees, and Asylum Seekers. ‘No More Darkness’ expresses desires for collaborative development and protection of the rights of those seeking refuge and to maintain our possession of those same rights, currently being eroded.
I appreciate the more staccato, electric delivery of the guitar line in this single version of ‘No More Darkness’. However, the guitar left something to be desired compared with the version on Passages. There is something about the spacious, reverberating, and subtly vibrato acoustic guitar, especially in the intro, that is nothing short of enchanting. One can imagine the walls and objects of Sparhawk’s surroundings comfortably bowing as he serenades them with his tasteful playing. Between the two versions is a notable difference in recording quality. I would have enjoyed hearing the previous version at the same fidelity. Nevertheless, why release the same song twice?
Sparhawk on ‘No More Darkness’
Sparhawk again: “‘No More Darkness’: Inspired by a David Lynch quote (“Don’t fight the darkness. Don’t even worry about the darkness. Turn on the light and the darkness goes. Turn up the light of pure consciousness. Negativity goes.”) This song reminds me to choose light in especially dark times. We were ending our set with this tune all year, and it is my wish for everyone, especially those who feel alone.”
Final thoughts
Alan Sparhawk Solo Band is a wonderful materialisation of ideas. Initially, I found myself perfectly alienated by ‘JCMF’. After putting in my trusty stock earphones each listen left me feeling enticed to return and enjoy the booming arrangement, not to mention rattled by the ominous proposition. ‘No More Darkness’ perfectly follows behind ‘JCMF’, a moment for listener, slumped in their seat, to regain autonomy over their body and allow slack hands to be raised to their chin and reflect on matters JCMF, humanity, and the illuminating reflections of the B-side.
