ALBUM REVIEW: Jakobs Castle – ‘Enter: The Castle’

Being the child of a star can be sticky. It’s a situation Jakob Nowell (son of Sublime’s frontman Bradley) acknowledges, assumes and subverts on his solo debut: a collective effort inviting us into its welcoming namesake Castle.

Within its walls, sure, there are parts of Sublime’s signature that act as the foundation. Except they’re built up with Jakob’s own rabbit’s hat of glitchcore, emo-rap and whatever melodic tricks he’s picked up as a songwriter since an early age. There’ll always be the assumption that Nowell will simply be carrying on the sound and legacy of his late father (“It’s just a symptom of our name, and your reputation” he references on torch-handing closer It’s Not Me… It’s You), as well as the vocal similarities immediately introduced on Supervillain. But ultimately there’s an array of drastically different sounds from their respective influential generations. Luckily, the hereditary sonic playfulness is clear.

Laid back Cali sunsets unfold delightfully on Enter: The Castle, as they did with his now-bandmates Eric Wilson and Bud Gaugh in the ‘90s, all with the added edge of obscure online culture; or, the singer’s own “beach meets internet” tagline. Nowell’s particular Y2K (and its revivalist) favourites are worn on his sleeve, ironically like 100 gecs’ Dylan Brady’s adorning of a ravey tie-dye Sublime tee for 90% of his appearances. The hyperpop troupe gets a shout out by Nowell on Lights Out, aptly skipping into a chiptuned ska passage with all the catchy pop punk structures we nostalgically crave. Motel Radio is a hyperactive whack-a-mole game of glitchy video game synths and snare hits, with its chorus’ callback to emo’s ‘00s mainstream success, before segueing into another ska-tinged bridge. Nowell’s bellowing choruses even reach glittery arena synthpop heights on Catch Me, proving that he’ll likely flourish at this year’s Coachella fronting his dad’s old band—essentially painting a target on his back since the band’s topsy-turvy reincarnations since 2009, as unfair as that treatment really is.

Even for all the California worship of days of yore (including a songwriting credit in Time Traveler to Operation Ivy / Rancid’s helmsman Tim Armstrong, which also nods subtly to San Diego mainstays Slightly Stoopid), Nowell is heavy with the tributes to his heroes. The pummelled nylon strings and trip-hop beats reminiscent of Gorillaz’ 5/4 meet LCD Soundsystem bleeps on the excellent experimental centrepiece My Machine. The noises implemented on Emodub sound just like Punk from the virtual band’s debut. Eponymous dub tropes appear in flashes across the runtime. On the subject of those hard-strummed guitars, they give a huge bopping serotonin boost when they’re used (regularly!), most effectively on Crazy Friends, celebrating close ones falling from the proverbial merry go round with the saddening “such a miracle you’re still here”.

Twenty-One Miles or Ashlyn may not exhibit a new side to the artist as strongly as other cuts, but the brevity of the expertly executed slices of experimental pop really does make them shine. As part poolside party, part psychedelic odyssey, Jakobs Castle effectively pulls strands from trends past and present into a heady mix. It’s a statement that sounds fit for the future, and without re-treading on his obvious legacy, he seems well on his way to carving his own path.

For fans of: Lil Lotus, Gorillaz, twenty one pilots

‘Enter: The Castle’ by Jakobs Castle is released on 12th April on Epitaph Records.

Words by Elliot Burr