Grief is a fearsome beast. At its worst, the emotion can become all-consuming and open up doors to spiteful resentments, severe depression, and bursts of misplaced anger. At its best, grief can lead to an expanded sense of empathy and a deeper understanding of the things that are legitimately important in life. More often than not, though, grief lingers in between that spectrum, forever at odds with its own qualities. All of those areas are explored in Jack’s jaw-dropping EP, Resting Places.
That’s precisely the reason why — despite absurdly strong showings from Vanity, Notches, Honey Bucket, Turtlenecked, Carl Sagan’s Skate Shoes, and Liam Betson — the EP finds itself in this post’s featured position. Jack, a project spearheaded by Brittany Costa, came about by way of a difficult situation. That situation informs every millisecond of Resting Places, as Costa created the project as an outlet to confront the loss of a loved one.
Anyone that’s lucky enough to be familiar with Costa’s past work will undoubtedly find reason to be interested in Resting Places but will likely be caught off guard. This is, by some distance, the most vital work of Costa’s impressive career. Resting Places is an unflinchingly intimate, honest work and those qualities are all but necessitated by the circumstances leading up to its creation. What separates Resting Places is Costa’s overwhelming conviction. At every turn, each of the five tracks on the EP feel like they were born out of a fierce need to purge the thoughts they contain, at any cost.
Drawing from a variety of musical genres and utilizing the talents of Flagland‘s Nick Dooley and Bethlehem Steel’s Becca Ryskalczyk, Costa ably conjures up a maelstrom that becomes a mirror of Resting Places‘ bruised and bruising narrative. From the very opening line of the EP — “What the fuck did I do to make you turn away?” — there’s an aggressive tilt that never wavers, even in Resting Places‘ quietest moments.
A feedback swell precedes that opening salvo, establishing the discord that the EP draws on and rails against. For around 24 minutes, Costa veers in and out of folk, punk, Americana, and pop sensibilities, tethering everything into a genre-demolishing approach that thrives on a sense of unease. It’s a trait that permeates through all of Resting Places, as bleary-eyed and frantic as possible. All of those qualities come crashing to a head at climactic moments like the desperate affirmation of “I have fucking value” that closes out opener “Rightful Rage” or the repeated aversions to inflicting and experiencing suffering on the devastating “Harbor”.
Costa’s impressed as both a lyricist and a composer in the past but what she accomplishes on Resting Places doesn’t just top everything she’s done, it stands as some of the most impressive work that 2016 has yielded to date. Every track on the EP contains a handful of extraordinary moments, whether its in terms of dynamics, turns of phrases, or unbridled feeling. There’s a knockout punch lingering at every turn that’s ready to knock the listener down to Costa’s level. At no point over the course of its run does Resting Places halt its merciless swinging.
In Resting Places‘ penultimate track, “Sister System”, Costa addresses that pain directly, providing the EP with its most vulnerable moment. Even when Dooley’s intuitive drumming — one of Resting Places‘ finest additional assets — opens the song up a little, there’s an unwavering sense that Costa’s completely alone. The command to “pick up that dignity you threw across the floor” that brings the song to the end feels like less of a request and more of a reminder, again drawing the listener nearer to Costa’s position in a stunning, effective manner.
“The Look” brings the proceedings to a close in hair-raising fashion, giving Resting Places its severely battered, barely-beating heart. The song was the first to be released from Resting Places and managed to be breathtaking in a standalone capacity. Placed in the context of the EP, “The Look” becomes one of the most devastating songs to have emerged in recent memory. It’s a surging, climactic, tour-de-force of repressed feeling, unchecked frustration, and excessive exhaustion.
As Costa nearly screams “I tried to choke myself to stop the hurried breathing” in that final track, as the music surrounding the narrative threatens to go off the rails, one thing becomes abundantly clear: Resting Places isn’t just a necessary excursion for Costa to confront some lingering demos, it’s an artistic masterpiece. Eventually, it all leads up to what may be an inevitable summation. As “The Look” brings Resting Places to a close, Costa gets caught in a loop, repeating over and over “I am not afraid to die.”
It’s a powerful statement that holds even more weight measured against the rest of the EP. It’s a frightening moment of awareness and may even betray a dark desire but that final line also encapsulate how definitive of an exploration Resting Places is of personal grief. In that last line, the deceptively expansive breadth of grief is evident and can be opened up to many interpretations. A few of those interpretations may even prompt immediate revisits of the EP, providing the opportunity for re-contextualization.
As the music fades away into the ether, Resting Places solidifies its place as one 2016’s most powerful releases for any format, leaving a mark that lasts. It’s a difficult EP that sparks an empathetic response that’s a little harrowing but likely nothing in comparison to what Costa went through while forming these songs. A special kind of generosity and bravery is required to put those feelings on display, so for that, we owe Costa a thanks, because Resting Places is just about as unforgettable as they come and, suitably, it makes it extraordinarily difficult to leave.
Listen to Resting Places below and grab a copy here.