J. S. Yeary

Local picker, grinner, shredder and singer Jason Yeary — going by "J.S. Yeary" here, it appears — is known for adding what has been dubbed "country-tallica" stylings....As wholesome, familiar and conventional as many of Country's elements are, Yeary still injects a bit of modernity here, from the wailing licks of "Anything Is Possible" to the squawking synth blasts of "Natural Heart."---Nashville Cream - Nashville Cream

A few months back, local guitarman J.S. Yeary put out an EP by the name of Country Just Feels Good — and indeed it does. But now, with a collection he's calling Guitar: What It Do, Wayne Sessions Volume 2, Yeary is making less trad. country, more experimental-noodly-rock numbers, wherein the man lets his axe do the talking. Or really, let's his axe do the psychedelic meandering. - Nashville Scene

Most know Jason Yeary from the bands Hammertorch or Shoot the Mountain, both of which have created a sizeable impression on Nashville. What listeners may be less familiar with is J.S. Yeary the solo artist, who is a far different guitarist and vocalist flying solo than he is in company. Following two previous recordings also done on his own, Yeary’s June EP release (recorded by himself) is titled with quite possibly the strongest observation about country music put in the simplest terms: Country Just Feels Good. Truth.

That explains the immediate comfort of the slow tempo, sleepy warbling keys, faint background bird chirps and muted vocals of Mr. Yeary on opener “Anything is Possible,” over which a heavy harmonica exhales lengthily.

I like that Yeary doesn’t force an excessive twang—a particular fake that’s always audible to me. A Southern-ness tilts his words slightly without turning one-syllables into five, and his croon rocks these five tracks softly.

When it comes to country, a record is typically better sans the sheen of quality production; the more lo-fi, the better. The polish is good in Yeary’s case, however, as his particular brand is a crossbreed of country and ambience (Yeary’s other projects likely helped develop the latter side of his sound). “The Valley,” especially, illustrates Year’s style with a romantic, very bleary Western tone set by a solitary acoustic strum answered with a faint tambourine rattle and vocals that sound as if they’re echoing down a hallway. There’s nothing to strongly dislike about the record; it feels good. - Murfreesboro Pulse