Jam Baxter has had an eventful time of it since he was last asked to summarise his musical adventures in biographical form. As ever, roaming around planet Earth, steadily tightening his grip on the very tallest branches of the musical canopy has been central to his movements, as has taking each and every bashment by the scruff of its neck and suplexing it dry of everything it has to offer. Most significantly however, Jam Baxter has continued to prove himself as one of the most outlandish and trailblazing songwriters on the scene. Taking listeners on a voyage through one’s songwriting is a mantra for many, but only a reality for very few; this has and always will remain the bone marrow of his day-to-day.
Best described as a young William Shatner skulking around a London backstreet staring wistfully at pigeons (his own words), Baxter can be found decimating live stages alone or in packs, sculpting releases that ooze unrivalled levels of dexterity, or simply sitting on Highbury Fields in the drizzle. It matters not which one of the above activities he may be doing at any particular time, the fact remains, no-one does it quite like Baxter.
Having set the ball rolling as the primary shareholder in Contact Play’s debut album ‘Champion Fraff’ way back in ’09, and with the release of ‘Rinse Out Friday / Spack Out Monday’, ‘The Gruesome Features’ and ‘…so we ate them whole’ LPs under his belt as a solo artist, Baxter has gone from strength to strength. Baxter’s work certainly demystifies the theory that being prolific is often to the detriment of quality. New album ‘Mansion 28’ recorded entirely in Thailand is the latest precious rock to have been put through the process and with a March 2017 release on the cards for what will be LP number four, the Baxter wave shows no signs of slowing anytime soon.