The vacuum inside us. A decade without Jeff Buckley

Music, art, often boosts the validity of its greatest exponents, as an immortal tribute to the services rendered. The 'accursedness' is undoubtedly one of the essential elements in this journey into the sky towards the Olympus of the unforgettable; the cursed artist finds in that gained condition an emotional value added to the creative piece.

The cursed artist lives and disappears: his work, his legacy remains unfinished; the public perceive what it could have been, and however it was not. The attraction of his creation grows to the extent that our imagination moves our desires. The creation not finished, imperfect, above the final result, which is not already subject to changes. The first and only record of Jeff Buckley (Orange County, California, 1966), ‘Grace’, released in 1994, marked the rise of an essential figure in the American music scene, and it will be more resplendent after his death in strange circumstances in 1997, drowned in a river while preparing the launch of its second work. The subsequent influence of Jeff Buckley, obviously, is not measured in terms of creative profusion; as a paradigm of artistic integrity, he set a distance with regard to inland industrial promotion. Maintaining independence and developing as first and only term his interest in music, all converge in the self-suggestive talent of the author. The poetic sketches in the writing of Jeff Buckley mean the translation to a level of reality where the sentiment becomes the only thing that matters: it is a palpable feeling that overshadows all the meaning of the mere existence of the individual.

‘Grace’ emanates a particular ‘way of life', envolved with everyday emotions, but also, under the pretension of addressing them to a higher level, aristocratic. The exquisite treatment of lyrical images promotes the celestial elevation of Buckley, a genius without a chair in the collective memory. Meanwhile, the vacuum continues growing inside us.