Faraday Cage is the ninth album by Sinner Songwriter Jean Koning. It was released on 25 April 2024 by Out Of Office Records. It was produced by Jean Koning and recorded in studios in London, and Amsterdam from May to November 2023.
| 1. G*dd*mn (Jezebel Style) 2. Driving I-22 3. Where To Now? 4. Dusty Lamp Light In A Cheap Motel, Highway 61 5. Wild Dreaming Tonight 6. Hammond And Rhodes: Duelling 7. Andy Warhol Hasn't Answered Yet 8. Oh God, Why Are You Sneding Me Away? |
Background:
“Can I hear an Amen?”
Set in both rural places (far off the map), and on lonely highways. Sometimes in cheap motels. And most definitely in sweaty weather. During endless Summers in which there’s no escape from the frying, boiling, searing rays of the sun.
“Faraday Cage”–as a metaphorical, narrative album of bluesy, jazzy, and folkish music–takes us to places where there’s a lot of (easy going) sex–whether in real life or in fantasy–Jack Daniel’s, Jim Beam, wine, cigarettes and sometimes a little grass to smoke as well. And–most definitely–a lot of guilt…
And since Tina Turner preached it in Nutbush City Limits: ”go to church on Sundays”...
Add to that formation, lyrics written as if Charles Bukowsky himself wrote them, combined with the ghosts of Elvis Presly and (the undead) Bob Dylan breathing life into the songs… And, yes, unfortunately some #metoo affairs which put the whole thing in motion…
Somewhere, deep within the Corona Crisis, Jean Koning was approached by a number of (in his opinion) “dear” friends who in a way all got involved in a nasty #metoo-affair–both male and female.
And Koning became the “right” person–as if being some kind of Patron Saint for the matter–to talk to, about all these negative affairs–as if he would have a solution to deal with all those mixed, destructive feelings which are inevitably attached to situations, such as these.
With that in his conscious mind, he took all these (in a sick way: lovingly) shared true stories in order to create an amalgam of experiences in a very metaphorical world, with “the woman as a goddess” ideas spread throughout the stories of power over sexuality.
When we perceive the “woman as a goddess” does that mean there is only the Madonna/Whore question to ask? And when it comes to men–basically the main source of power and abuse in 99.99% of all the stories–are they merely perceived as predators? Or are they fed–like “unknowing” victims–with the thought that a woman (or, man; let’s not leave the male victims out of the conversation here) can be “used” in any which way they present themselves? Used to convenience? (“Please, lend me your pussy. I’ll bring it back in ten minutes… Or less…” is something Koning used to say when a woman was treated “unfriendly” or “disrespected” in the audience during his concerts–long before some “president” of a certain country said: “Grab them by the pussy…”. And hereby we can state that Koning’s comment was a sarcastic utterance to a situation occurring, and Trump very much incapable for the presidency.)
Is “No Means No!” really actually listened to, and thus, by all parties, being respected? And what about the Jezebel-effect?
According to Geoffrey Bromiley, the depiction of Jezebel as "the incarnation of Canaanite cultic and political practices, detested by Israelite prophets and loyalists, has given her a literary life far beyond the existence of a ninth-century Tyrian princess."
Through the centuries, the name Jezebel came to be associated with false prophets. By the early 20th century, it was also associated with fallen or abandoned women.
In Christian lore, a comparison to Jezebel suggested that a person was a pagan or an apostate masquerading as a servant of God. By manipulation and seduction, she misled the saints of God into sins of idolatry and sexual immorality.
In particular, Christians associated Jezebel with promiscuity. The cosmetics which Jezebel applied before her death also led some Christians to associate makeup with vice. In the Middle Ages, the chronicler Matthew Paris criticised Isabella of Angoulême, the queen consort of John, King of England, by writing that she was "more Jezebel than Isabel".
In modern usage, the name of Jezebel is sometimes used as a synonym for sexually promiscuous or controlling women.
The Jezebel stereotype is an oppressive image and was used as a justification for sexual assault and sexual servitude during the eras of colonization and slavery in the United States.
Exploring the Jezebel in the victims of any #metoo-affair led to new insights in the world of women.
Koning–on the album FARADAY CAGE–projects the Jezebel-effect on both the male and female characters. Portraying the metaphorical stories onto two male characters–perpetrator and voice of reason–and two female characters–victimised and heroine. Allowing the four characters to visit each other in the songs–sometimes as bystanders, sometimes as supporting actors. In any which way, they’re all on their knees to (the Christian interpretation of) the Jezebel-figure, who inhabits them all in one way or another. And whether they like it or not…
Returning to Elvis Presly–whose main character returned to sender, since she was not acceptive to the “love” provided–Koning took a road trip starting in Tupelo in the South-East in the U.S of A.; leading him further through “God’s Country”–as being perceived as “this is the country God had in mind when creating this earth” by the locals–into the South-West of the U.S of A.; providing him with insights of how women are being treated–being a father to a teenage girl and a partner to a woman–in positions in which the balance of “power” is somewhat unbalanced… To put it kindly…
The result of this journey is “FARADAY CAGE”–a road-movie-like musical album, comparable to “Mineo”, “From The Hermit’s Bedroom”, and “Industrial City In The Clouds”.
And in Koning’s own words, “Can I hear an Amen?” can be–considering the source of inspiration–easily replaced by “Can I hear a Goddamn?”
Yes, Sir Koning, you can…
“Faraday Cage”–as a metaphorical, narrative album of bluesy, jazzy, and folkish music–takes us to places where there’s a lot of (easy going) sex–whether in real life or in fantasy–Jack Daniel’s, Jim Beam, wine, cigarettes and sometimes a little grass to smoke as well. And–most definitely–a lot of guilt…
And since Tina Turner preached it in Nutbush City Limits: ”go to church on Sundays”...
Add to that formation, lyrics written as if Charles Bukowsky himself wrote them, combined with the ghosts of Elvis Presly and (the undead) Bob Dylan breathing life into the songs… And, yes, unfortunately some #metoo affairs which put the whole thing in motion…
Somewhere, deep within the Corona Crisis, Jean Koning was approached by a number of (in his opinion) “dear” friends who in a way all got involved in a nasty #metoo-affair–both male and female.
And Koning became the “right” person–as if being some kind of Patron Saint for the matter–to talk to, about all these negative affairs–as if he would have a solution to deal with all those mixed, destructive feelings which are inevitably attached to situations, such as these.
With that in his conscious mind, he took all these (in a sick way: lovingly) shared true stories in order to create an amalgam of experiences in a very metaphorical world, with “the woman as a goddess” ideas spread throughout the stories of power over sexuality.
When we perceive the “woman as a goddess” does that mean there is only the Madonna/Whore question to ask? And when it comes to men–basically the main source of power and abuse in 99.99% of all the stories–are they merely perceived as predators? Or are they fed–like “unknowing” victims–with the thought that a woman (or, man; let’s not leave the male victims out of the conversation here) can be “used” in any which way they present themselves? Used to convenience? (“Please, lend me your pussy. I’ll bring it back in ten minutes… Or less…” is something Koning used to say when a woman was treated “unfriendly” or “disrespected” in the audience during his concerts–long before some “president” of a certain country said: “Grab them by the pussy…”. And hereby we can state that Koning’s comment was a sarcastic utterance to a situation occurring, and Trump very much incapable for the presidency.)
Is “No Means No!” really actually listened to, and thus, by all parties, being respected? And what about the Jezebel-effect?
According to Geoffrey Bromiley, the depiction of Jezebel as "the incarnation of Canaanite cultic and political practices, detested by Israelite prophets and loyalists, has given her a literary life far beyond the existence of a ninth-century Tyrian princess."
Through the centuries, the name Jezebel came to be associated with false prophets. By the early 20th century, it was also associated with fallen or abandoned women.
In Christian lore, a comparison to Jezebel suggested that a person was a pagan or an apostate masquerading as a servant of God. By manipulation and seduction, she misled the saints of God into sins of idolatry and sexual immorality.
In particular, Christians associated Jezebel with promiscuity. The cosmetics which Jezebel applied before her death also led some Christians to associate makeup with vice. In the Middle Ages, the chronicler Matthew Paris criticised Isabella of Angoulême, the queen consort of John, King of England, by writing that she was "more Jezebel than Isabel".
In modern usage, the name of Jezebel is sometimes used as a synonym for sexually promiscuous or controlling women.
The Jezebel stereotype is an oppressive image and was used as a justification for sexual assault and sexual servitude during the eras of colonization and slavery in the United States.
Exploring the Jezebel in the victims of any #metoo-affair led to new insights in the world of women.
Koning–on the album FARADAY CAGE–projects the Jezebel-effect on both the male and female characters. Portraying the metaphorical stories onto two male characters–perpetrator and voice of reason–and two female characters–victimised and heroine. Allowing the four characters to visit each other in the songs–sometimes as bystanders, sometimes as supporting actors. In any which way, they’re all on their knees to (the Christian interpretation of) the Jezebel-figure, who inhabits them all in one way or another. And whether they like it or not…
Returning to Elvis Presly–whose main character returned to sender, since she was not acceptive to the “love” provided–Koning took a road trip starting in Tupelo in the South-East in the U.S of A.; leading him further through “God’s Country”–as being perceived as “this is the country God had in mind when creating this earth” by the locals–into the South-West of the U.S of A.; providing him with insights of how women are being treated–being a father to a teenage girl and a partner to a woman–in positions in which the balance of “power” is somewhat unbalanced… To put it kindly…
The result of this journey is “FARADAY CAGE”–a road-movie-like musical album, comparable to “Mineo”, “From The Hermit’s Bedroom”, and “Industrial City In The Clouds”.
And in Koning’s own words, “Can I hear an Amen?” can be–considering the source of inspiration–easily replaced by “Can I hear a Goddamn?”
Yes, Sir Koning, you can…
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