Jinjer – Wallflower (Napalm Records) [Matt Bladen]
I get it, I do, music fans have to have new bands to latch on to. The creation for the superstars of tomorrow is vital for any genre to succeed (maybe not classical), but I do get a little tired of the ‘next big thing’ title that is often bandied around ad nausea about which ever band is currently in the spotlight, or has an interesting backstory etc. Much of it comes from the music press who are determined to make it that everyone likes the band, and if you don’t you’re in some way odd. Jinjer are one such band, the Ukrainian djent act have been touted as ‘the next big thing’ for a long while now. I don’t hold this against them, if it moves their career forward great, the same thing can also be said of Alien Weaponry, and to be honest it is probably just me being a grump but like with Alien Weaponry, Jinjer are not really my thing, however I’m willing to have my mind changed.Now I know they are talented, versatile band both on record and live, their achingly modern, progressive, heavy as hell style of djent, encompasses numerous styles throughout and their vocalist, Tatiana Shmayluk has brilliant command of both the harsh and clean vocal styles, using the latter a lot more here than on previous albums. She also provides the band with some bold, antagonistic lyrics for what is more often than not is furiously intense metallic flurries such as on Colossus, a little hit of pop punk on Copycat but also shows a fragility when they move into introspection on tracks such as the title track. Wallflower is a lot more interesting to me than their previous albums adding a bit of depth to their previously one-dimensional djent/metalcore sound.
An album that sets Jinjer up for the future and displays a deliberate effort to evolve their style as a band. I’m still not a fan of this ‘next big thing’ hype train that is often levelled at bands, as I think the music should do the talking (as Aerosmith once said) but Jinjer have managed to win me over to their side with Wallflower as an entertaining listen. 7/10
Neal Morse Band – Innocence and Danger (Inside Out Music) [Alex Swift]
People who have read my work will know that while I cite my adoration for prog often, Neal Morse is not a name that comes up in my writing terribly often – that’s not to say I don’t respect the man. On the contrary I recognise his contribution to the world of progressive music, and while I don’t care much for his brand of Christian rock he always sprinkles his lyricism with intriguing storytelling and rich, vivid language. That said, I was interested in the new Neal Morse record for two reasons – firstly, while his work with prog-rock supergroup Transatlantic is no less indulgent I enjoyed the opus they released earlier this year and would have done so a lot more had they agreed on a musical direction and made one record. Secondly, there were whispers leading up to this album that while the piece was never intended as a double album, the strength of the song caused Innocence And Danger to become another epic, rather than sheer ambition guiding the process. While the core identity of this band has always consisted of Morse, Mike Portnoy and Randy George, the addition of two extra members, with the creative input of the entire band accounted for, has cast doubt on whether the band should be named after their leading member with the ‘NMB’ abbreviation giving the impression in recent years that this is a new project altogether.
The first disc of this sonic exploration consists of eight songs, while the second consists of two grand, multipart pieces, which are 19 and 31 minutes respectively. Opening the first disc is Do It All Again. This is a serene and joyous piece. The anthem certainly feels like its rejoicing in a cathartic and emotional sense. Each musician trades off eloquently both in vocal duties and chance to shine instrumentally. This lends a diverse set of moods and ides to the track and its clear that the band are working together collaboratively and combining their musical influence in ways that we haven’t seen with this band to quite this degree before. Bird On A Wire, by contrast is more intense and animalistic in tone, setting the heart racing through the stunning technical prowess of each of the members and the driving momentum which gallops throughout the piece. That’s not to say that every song relies on scale to make a point! Some, like the retro infused Your Place In The Sun and the piano led Another Story To Tell are far more scaled back and atmospheric in composition, helping to make for a more varied and absorbing listening experience.
Taking the peaceful and subdued nature of these tracks and making the emotions they established pay off into something far more outstanding is The Way It Had To Be. Both skilfully crafted and emotionally compelling, this ballad accentuates the beautiful and wonderous aspects to these musicians playing styles, the keys intersecting brilliantly with the slide guitars and ethereal vocals. Following a impressively played yet largely unremarkable solo piece from our frontman, we get Not Afraid Part 1– the thematic precursor to one of the epics on the second disc, and a piece which despite not being anything remarkable or genre-defying, helps to draw this side of the album to a contemplative and introspective finale. Or at least that song would be the closer if not for a rendition of Simon and Garfunkel’s Bridge Over Troubled Water. This, to me, is neither necessary nor impressive. The original very much relies on simplicity and subtlety in order to make its point and can be interpreted as mournful or exuberant due to that simplicity. NMB’s complex prog adaptation of the classic serves to rob the piece of that element. Therefore, while I could certainly see why some would like this kind of experiment, I found myself confused by the end of the first disc, holding a myriad a different feelings.
Not Afraid Pt. 2 opens the second half of this album and honestly for its huge length it’s very much what you may have come to expect from Neal Morse – progressive music which is very bright, shimmering and optimistic in nature. However, the way the piano led overtures set the majestic tone for the song, the influences from such acts as Pink Floyd and Genesis are ever present on this song, emphasising emotionality and saying more with less. It’s unquestionably derivative, yet I’d rather sit through a song that I fell I’ve heard a million times, than sit through one which champions complexity above relatability! Indeed, while this one is successful in the way its use of dynamics excellently commands your emotions, I don’t think this needs to be this long, with the piece sadly falling into the ambition over curiosity trap that I mentioned earlier.
Not Afraid Pt. 2 opens the second half of this album and honestly for its huge length it’s very much what you may have come to expect from Neal Morse – progressive music which is very bright, shimmering and optimistic in nature. However, the way the piano led overtures set the majestic tone for the song, the influences from such acts as Pink Floyd and Genesis are ever present on this song, emphasising emotionality and saying more with less. It’s unquestionably derivative, yet I’d rather sit through a song that I fell I’ve heard a million times, than sit through one which champions complexity above relatability! Indeed, while this one is successful in the way its use of dynamics excellently commands your emotions, I don’t think this needs to be this long, with the piece sadly falling into the ambition over curiosity trap that I mentioned earlier.
I cannot say this however for the closer – Beyond The Years is an absolute victory of musical collaboration, adventure and emotional depth. Beginning on a hunting and wraithlike note, the piece gradually builds into a sizzling and exciting anthem of conquest over darkness, complete with brilliant guitar and key work, with each instrumental section offsetting the next in the most cathartic and stupendous way imaginable. The only gripe I can think of is that the piece has to continue to impress after crescendo which ends about 20 minutes in, yet even then, I think these musicians succeed in making the last ten minutes of the album memorable.
Overall, while Innocence And Danger reminded me of many of the aspects I don’t care for in Morse’s music, I was also reminded of many of his strengths. Particularly in the moments when he is working with others to guide the creative process, he shines. I don’t think this needed to be a double album, however I don’t think the album suffers too much for that reason either. For that reason, I look forward to seeing this incarnation of NMB hone their sound and style into something truly astonishing. 8/10
With a name like Sugar Horse you may get a different impression of Bristolian foursome than the one their music gives you. The band name sounds like it could be all fun and frolics but they create noise, unashamed, unapologetic noise wrapped tightly in the aggressive, defiant sound of post-metal, they share musical traits with both Cult Of Luna and Deafheaven. An anthemic track such as Phil Spector In Hell which is full of haunting echoes or the dissonant title track both explore the light and dark of Sugar Horse's musical assault while Terrible Things Are Happening As We Speak is the album's heaviest song with shoegazing often single chord riffs matched by the raging hardcore vocals. All of this noise is bookended by the two tracks I Am Not Now, Nor Have I Ever Been…and…A Las Vegas Showgirl which are based around a Byzantine hymn, it's ringing chanting twosome that fit brilliantly beginning and ending the record with cohesion. The self proclaimed 'decidedly average' band are not average at all in fact they are an uncompromising musical force. 7/10
Winter Nights - Sky Burial (Self Released) [Alex Swift]
I for one, would recommend this EP to anyone who likes a distinctly modern metal sound tempered with a very strong appreciation for the classics. Despite being far from perfect, Winter Nights demonstrate a level of technical ability and impressiveness that should leave fans of metal new and old willing and prepared to hear more. 7/10
Overall, while Innocence And Danger reminded me of many of the aspects I don’t care for in Morse’s music, I was also reminded of many of his strengths. Particularly in the moments when he is working with others to guide the creative process, he shines. I don’t think this needed to be a double album, however I don’t think the album suffers too much for that reason either. For that reason, I look forward to seeing this incarnation of NMB hone their sound and style into something truly astonishing. 8/10
Sugar Horse - The Live Long after (Small Pond Records)
With a name like Sugar Horse you may get a different impression of Bristolian foursome than the one their music gives you. The band name sounds like it could be all fun and frolics but they create noise, unashamed, unapologetic noise wrapped tightly in the aggressive, defiant sound of post-metal, they share musical traits with both Cult Of Luna and Deafheaven. An anthemic track such as Phil Spector In Hell which is full of haunting echoes or the dissonant title track both explore the light and dark of Sugar Horse's musical assault while Terrible Things Are Happening As We Speak is the album's heaviest song with shoegazing often single chord riffs matched by the raging hardcore vocals. All of this noise is bookended by the two tracks I Am Not Now, Nor Have I Ever Been…and…A Las Vegas Showgirl which are based around a Byzantine hymn, it's ringing chanting twosome that fit brilliantly beginning and ending the record with cohesion. The self proclaimed 'decidedly average' band are not average at all in fact they are an uncompromising musical force. 7/10
Winter Nights - Sky Burial (Self Released) [Alex Swift]
Metalcore is a genre I have very mixed feelings on. When perfected it can be menacing and threatening, while also retaining a sense of bombast and memorability. However, in recent decades the genre has in large part settled into a sound and an identity that many metalcore acts are happy to adhere to. The formula of chugging riffs and thunderous growls mixed with sweeping melodic refrains is one I respect, yet it’s also one that wore out its welcome about ten years ago. Indeed, while there are elements of that sound in Winter Nights music I will say without any hesitation that I admire them for doing something different within the confines of their genre.
While the guitar and drum work is very in keeping with the sound of acts in the vain of Avenged Sevenfold or Atreyu, there are also a lot of gothic and traditional stylings in this band's approach. The tone of their singers voice is far more guttural and wouldn't sound out of place on a death metal album. Whatsmore, the addition of harmonious organ effects and duelling lead melodies on opener Time To Say Goodbye lends an operatic grandiosity to the opener, which leaves an impression on the listener if only due to its gigantic scale and sweeping presence. Neither Faith Nor Fear, by contrast is far more ominous in presentation, and while I certainly admire the experimentation, this is where the EP starts to falter for me. The track has a cerebral darkness and feels brooding yet stops short of being truly frightening if only down to the fact that the same conventions I mentioned earlier prevent the band from lurching into the doom-laden or sludgy territory that's needed to make a slower piece like this work.
Thankfully, the record redeems itself massively with the pulverizing and chaotic I Pray To I. Even as a reviewer, I can't begin to describe the level of detail on this track while doing these musicians skill justice. To me, this one is a fantastic example of a band working together to create something which is enraged and ferocious, yet also deeply melodic and ambitious in how each section moves into the next with a dexterity and cleanness that demonstrates the level of thought put into the music on display. We finish with Sky Burial which combines the strengths of these players for an epic closer. I don't know how I feel about this one not having the same rising and falling dynamics as previous tracks but for fan's looking for a piece which is cascading and unceasing in its melancholic undulations, as well as complex and multifaceted in performance, this is a perfect seven minutes of absolute, unbridled, mayhem!
While the guitar and drum work is very in keeping with the sound of acts in the vain of Avenged Sevenfold or Atreyu, there are also a lot of gothic and traditional stylings in this band's approach. The tone of their singers voice is far more guttural and wouldn't sound out of place on a death metal album. Whatsmore, the addition of harmonious organ effects and duelling lead melodies on opener Time To Say Goodbye lends an operatic grandiosity to the opener, which leaves an impression on the listener if only due to its gigantic scale and sweeping presence. Neither Faith Nor Fear, by contrast is far more ominous in presentation, and while I certainly admire the experimentation, this is where the EP starts to falter for me. The track has a cerebral darkness and feels brooding yet stops short of being truly frightening if only down to the fact that the same conventions I mentioned earlier prevent the band from lurching into the doom-laden or sludgy territory that's needed to make a slower piece like this work.
Thankfully, the record redeems itself massively with the pulverizing and chaotic I Pray To I. Even as a reviewer, I can't begin to describe the level of detail on this track while doing these musicians skill justice. To me, this one is a fantastic example of a band working together to create something which is enraged and ferocious, yet also deeply melodic and ambitious in how each section moves into the next with a dexterity and cleanness that demonstrates the level of thought put into the music on display. We finish with Sky Burial which combines the strengths of these players for an epic closer. I don't know how I feel about this one not having the same rising and falling dynamics as previous tracks but for fan's looking for a piece which is cascading and unceasing in its melancholic undulations, as well as complex and multifaceted in performance, this is a perfect seven minutes of absolute, unbridled, mayhem!
I for one, would recommend this EP to anyone who likes a distinctly modern metal sound tempered with a very strong appreciation for the classics. Despite being far from perfect, Winter Nights demonstrate a level of technical ability and impressiveness that should leave fans of metal new and old willing and prepared to hear more. 7/10