Jacob Cannon
Contributing Writer
My music taste is eclectic — even nonsensical at times — but I was recently introduced to an artist I consistently enjoy, no matter the time of day. For about a year, I’ve been listening to the work of one Jack Stauber, an indie artist whose style is as unpredictable as my mood at any given time. Stauber’s work is bizarre and unique, and in spite of its inconsistencies, I have a deep appreciation for his music.
To give some background, Jack Stauber has released four independent albums as of April 23, 2019: “Finite Form,” “Viator,” “Pop Food” and “HiLo,” in order. Though the genre of his music is hard to define, some might call it indie rock or indie pop. That said, his style is anything but consistent; his art (as both a musician and animator) can range from quirky and amusing to surreal and unsettling. Personally, I think this is where his work truly shines.
His avant-garde approach to music and animation is difficult to define. Many of his songs and animations make little to no sense, and it’s hard to tell if there is even a message — of course, his viewers do often try to explain the hidden meaning of his lyrics and the odd bits of animation on his YouTube channel.
Some of his videos seem to exist only to make viewers uncomfortable, but they’re impressive nonetheless. He uses simple animated drawings, digital models and even claymation to create his distinct brand of visual media. Further, as strange as some of them may be, other gems like “Rain” and “Love Bug” show his skill with both visual and auditory media in small doses.
As for the albums, Stauber does an excellent job of creating variety while sticking to his unique style. In “Pop Food,” he jumps between calm, flowing tracks such as “Koi Boy” and “Lynn” and the energetic, fun beats featured in “Buttercup” and “I Understand.” Further, “HiLo” features more experimental tracks in which Stauber shows his musical ability, both through his voice and composition. The fourth track, “Leopard,” jumps between various styles, featuring fitting lyrics about change. While some parts fit better than others, it succinctly demonstrates his flexibility — something the album arguably does on a larger scale.
Personally, I’ve found his two most recent albums to be my favorite; “Pop Food” is the most musically beautiful of the two, but Stauber really stretches his legs and explores in “HiLo.” Regardless, there are four albums and several singles (released under the label “Jack Stauber’s Micropop”) for listeners to enjoy.
Stauber’s music (and other work, for that matter) isn’t for everyone. Much of the appeal comes from the peculiarity that surrounds his art. Nevertheless, strangeness isn’t what defines Stauber nor his music. His freedom as an independent artist simply allows him to express himself artistically however he pleases. Whatever he does moving forward, it’s clear that Stauber will keep being himself — a nostalgic, perplexing artist. He takes his work’s bizarre qualities to the extreme at times, but his passion gives his even more amusing or indescribable work a special charm.
Jack Stauber’s music is available on Bandcamp and Spotify. His self-named YouTube channel also features his animations and projects, some of which have been expanded into full-length songs.