Editors’ Notes Arriving after a pair of promising EPs, the debut full-length from Southern Ontario sextet Jaunt captures a young band executing their grandest, most complex ideas with pop-song precision. Produced by BADBADNOTGOOD drummer Alex Sowinski, All in One clocks in at a tidy 10 songs and 31 minutes, but overflows with enough ambition and ingenuity to fill four sides of vinyl. Throughout the record, Jaunt presents us with an intricate assemblage of seemingly incompatible forms—folk and funk, prog and soul, Krautrock and Beach Boys harmonies. But thanks in large part to the captivating Dirty Projectors-esque vocal interplay of singers Tom Helliwell and Caitlin Woelfle-O’Brien, the songs feel breezy and effortless, exuding a relaxed vibe that reflects the album’s overarching themes of meditation and self-care. “When listening to music, it can feel like time travel, because it can distort your perception of time,” Helliwell tells Apple Music. “Being a creative writer, you want to take as much control of that perception as possible. Our approach is to try to make short periods of time feel longer, so that it feels you're going to a lot of different places in a short period of time.” Here’s his track-by-track guide to help you savor each moment.

All in One
“This was a simple bare-bones acoustic song that we delicately adorned with synths and vocals. And lyrically, it really served as sort of a touchstone for the themes of the other songs, just generally about mindfulness and trying to not worry about things that are out of your control.”

Nostalgia for the Present Moment
“This one was an instrumental for a long time, and I had that title—it just came to me as a weird paradox. And then when it came time to write the lyrics, I thought, 'How can I make this idea mean more, and make more sense?' Of all the songs, this is the most straightforward in terms of what it's talking about. And it really helped to have a lead vocal and background vocal, in terms of splitting up which singer's saying which lyric and how you can create context and a story with that. For me, that opened up a lot of doors and helped me finish the song.”

Crushed Velvet
“This one also existed as an instrumental for the longest period of time, and it was only in the last few months that the lyrics were added. It's about reflecting and trying to accept all of your past mistakes as something that you needed to go through to achieve the wisdom that you have, and how sharing those stories can improve the lives of other people.”

Pt 2
“We had part one with 'Crushed Velvet,' with the Krautrock beat really propelling that section, and we were trying to find an ending to that song, and wondering where could this go. So we thought, ‘What if we just broke here and it fell apart and just came down to a really quiet, small space?' And it helped the sequencing—we have 'True Affections' coming afterwards, so a big part of finishing this song was looking at it in context with the other songs.”

True Affections
“I was trying to write about that first burst of inspiration that one has when it comes to creating anything, whether it's a song or a painting, and the way that feeling of inspiration and energy conflicts with the daunting critic in your head, or the daunting blank canvas. It's about trying to find the joy and the possibility in the blankness, and fill it up with your voice and your creation, and be energized by that and not deflated.”

Bakers Moves
“This one is probably one of the earliest Jaunt songs. We wrote it when [guitarist] Pat [O’Brien] and I were in his bedroom in Hamilton [Ontario], working on music. We hadn't played any shows yet, and his dad suggested that a cool word for a band name would be Jaunt. At the time, I was in college, I was reading The Great Gatsby, and some character described another character's movement as being jaunty, or ‘moves with jauntiness.’ And the name of that character was Jordan Baker, so I just quickly turned that into 'Bakers Moves.' So this one is from an early time period in the band's history, and the energy of the song complemented the new ones we were writing. It's been on the back burner in our creative kitchen, but it just happened to fit, and we wanted to give it a proper release.”

Obvious Answer
“This one is similar to 'Crushed Velvet' in that it was an instrumental for a long time and it was struggling to find its footing in terms of what direction to go in. And you can kind of hear that in the way that the structure unfolds. Because it was such a vast musical adventure, I tried to find some kind of through line lyrically, so it sort of arrived at being this love song, and coming to the realization that you need to cultivate the good things about your partner and realize there's a lot of beauty there to be appreciated.”

Callous Standard
“This is another song from a few years ago, and it always had that really disjointed structure and had a couple different sections to it. And in that way, I think it has served as sort of a template for our potential—like, we can go in this direction if we want. We've done this before, in terms of having a song that takes you on a journey and changes.”

Suggestions
“When I was writing the lyrics to this, I was thinking about the echo chambers that we can all get in when we're online and just reinforcing our opinions. So it’s about talking to someone else who has a completely different opinion, and the ways you can poke holes in each other's view and find humor or find fallacy. It's just about trying to talk out our differences, and being open to that.”

Delighted to Be Spoken To
“Pat always placed this song at the end of the sequence, because that final chord progression, that groove at the end, was just really an attractive, strong send-off. This is another one of the songs that was an instrumental for so long, and it really came down to the end, in terms of adding lyrics. So in that way, I think it helped that there were so many other songs that were written and completed, and that we could sum up some of the themes and loosely refer back to 'All in One.' I was trying to treat it like the real final track of the album and end with sort of resolve, lyrically.”

1
3:46
 
2
2:47
 
3
2:13
 
4
1:21
 
5
1:43
 
6
3:02
 
7
3:45
 
8
5:43
 
9
3:33
 
10
3:21
 

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