Since the release of Trust Everyone Before They Break Your Heart, Portland band Jonah has been steadily attracting attention from fans and critics alike. From press in SPIN Magazine and the Studio City Sun to regular rotation on Portland's KNRK 94.7 and KINK, Seattle’s KEXP and numerous other stations around the country, not to mention sold out shows with Australia’s Youth Group and the Silversun Pickups, Jonah is turning heads with their unique brand of anthemic pop music. The band recently returned from a West Coast tour and is putting the finishing touches on a new record and will be on the road again soon. Stay tuned!
After the release of their Save the Swimmer debut, and the bitter sweet pop symphony of the subsequent Safe Distance EP, it was time for Jonah to step back and dream up where they wanted to go musically with their next offering. They had won over fans and critics alike with their adherence to the majestic side of what pop music could be, something resembling an early U2’s passionate earnestness colliding with the hypnotic and dark beauty of Radiohead. Songs from both records had made their way onto nationally syndicated TV hits and garnered radio rotation, as well as landed spots on many compilation discs nationwide. But the band’s sound was evolving and needed the experience of a seasoned producer to guide them. They chose Marshall Altman, a veteran from the world of A&R at both Columbia and Hollywood Records and producer of such notable artists as Marc Broussard, Zebrahead, and Matt Nathenson.
The result is the long-awaited second full-length album from Jonah: Trust Everyone Before They Break Your Heart, a tightly wound pop testament that displays the breadth of the band’s talents. From the dance pulse sheen of Runaground and the chaotic avalanche of Time’s Up to the cinematic dream pop of The Joy of Drowning, the songs are statements to the whole: portraits of love and loss, the betrayal of the heart and the elusive promise of happiness and success, all set against a backdrop of eternal optimism for the human condition. The centerpiece of Henry Curl’s dramatic tenor is echoed in the shimmering waves of Chris Hayes’ understated guitar playing, pinned down by the hypnotic pulse of Matt Rogers’ bass and Jake Endicott’s explosive drumming. It is the sound of a band evolving into something brand new, without loosing what made them so appealing in the first place.