Jane Weaver is one of those precious, hidden treasures, with the X marked somewhere around Liverpool. With an incredible career behind her in which she combines art-pop, krautrock, ambient, electronica, experimentation and art-rock through his passion for analogue sounds and his hypnotic voice, Weaver made a noticeable leap to public recognition with his 2021 album Flock, certainly more commercial than her previous -and wonderful- The Silver Globe (2014) or Modern Kosmology (2017, which slipped a song into the Killing Eve series), but without losing an ounce of personality.
Perfect storms, the opening track of her new album, Love in Constant Spectacle, takes us back to the atmosphere of those albums. It is, by no means, a leap backwards, but a new synthesis looking forward. In the end, this is what Weaver has always done, even reinventing themes from Silver Globe and Modern Kosmology in a new light for her surprising and pretty great Loops in the modern society (2019). Emotional components is a beautiful composition that refers to Stereolab and Laetitia Sadier (who, by the way, has also given us a remarkable solo work this 2024). It is followed by the homonymous song, another of those we had been able to listen to in advance, a perfect meeting of dreamy present and past. It is followed by Motif, which takes us back to an introspective side that she went through, especially in her early works, and which is tremendously welcomed surprise. Bass, effects and that ethereal voice surround us in The axis and the seed, one of the most experimental tracks on the album. In a new twist, Is metal is pure art-pop jubilation with that tremendous warmth and closeness that Weaver knows so well how to imprint on it (the Field Music guys should love this song).
It makes perfect sense that there is a song called Happiness in proximity. In some way, this is what she talks about over and over again. Musically, Happiness in Proximity surprises us with its jazzy approach, and yet again, it is followed by a totally different song, Romantic worlds, another of the excellent advances that prepared us for Love in constant spectacle, a joyful pop jewel of sensory rhythm, spring afternoon and a deep desire to be happy. A very elegant analogue electronica welcomes us at Univers (not ‘Universe’, perhaps a tribute to Sadier) that opens up to that kind of classic pop-rock that she knows by heart. And the album closes with mystery, with keyboards, with open-mindedness, with a cosmic journey, with a utopian transformation -we need so much of that- , which takes us to an unexpected instrumental ending.
I still have a lot to unravel and return again and again, but Love in Constant Spectacle aims to rank very high among my favourite Jane Weaver albums (Flock cost me a bit at the beginning and still ended up in my 2021 picks). And of course, here I have a very strong candidate for the 2024 picks.
I leave you with the title track of Love in constant spectacle, with its animation video as simple as it is beautiful.
The Music Picker 
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