This album by Jinjer is highly anticipated. It marks their fifth full-length release, arriving four years after their previous record, Wallflowers. Originating from Donetsk, Ukraine—a region sadly known as a focal point of the Russo-Ukrainian conflict—Jinjer is a modern metal quartet that blends djent, prog, and deathcore into a unique sonic identity. Led by the charismatic presence and vocals of Tatiana Shmayluk, the band expertly balances growls and clean singing, with Tatiana also handling the songwriting.
Jinjer dismantling and reconstructing
The album opens with “Tantrum“, an all-out sonic assault at breakneck speed—an open challenge, a duel. Rhythmic shards strike the listener as Tatiana‘s growl drags us into a war zone, explicitly or implicitly. When the radioactive fog clears, her voice returns to the forefront, this time clean and remarkably delicate. Tatiana is an anti-star, and her singing shifts to fit the narrative. Accompanying her are three incredible musicians: Eugene’s bass, precise and impeccable, yet capable of stirring deep emotions in unexpected ways; Vlad on drums, who seamlessly intertwines his rhythms with the bass while also being the band’s primary composer; and Roman’s guitar, providing contrast. Together, they dismantle and reconstruct a sound that uses progressive metal’s foundations to push into extreme metal territory, turning music into a narrative within a narrative:
“Such a loud premiere will never happen again.
Do not send me invitations anymore.”
Slowing down the tempo
In “Hedonist“, the tempo slows, but the crushing weight of the sound remains, pressing down on the listener at every turn. Tatiana’s lyrics, directed at the figure of the hedonist, question, judge, and even condemn those who indulge only in personal pleasure, indifferent to everything else. The vocals shift theatrically between growls and cleans, reinforcing the song’s message.
The relentlessness and intensity of Jinjer
“Rogue” follows a similar rhythmic flow, contributing to the album’s sense of relentless intensity, leaving the listener breathless with no respite. This track stands as one of the album’s key moments—unyielding in its extremity, a condemnation of dictatorships and large-scale propaganda that manipulates opinions to the point of full-fledged brainwashing. Obsessive and devoid of melody, Rogue reaches one of Jinjer’s musical peaks with its intricate djent-style rhythmic structures.
Reflecting on the band’s homeland
“Tumbleweed” reflects on the band’s homeland, using the metaphor of a storm hitting their home. Even Tatiana’s clean vocals seem to carry echoes of Ukrainian folk lullabies, alternating with deep, low-frequency growls.
“Green Serpent” is another pivotal track on “Duel“, exploring addiction through vivid and biblical imagery. Eugene’s bass turns almost liquid, while Tatiana’s voice fades away like a final, lingering caress:
“The grapes are falling down.”
Playing with Kafka and King Crimson
Bureaucracy crushing the individual is another central theme in the album, with Kafka making a direct reference to The Trial by Franz Kafka. Many of Jinjer’s musical choices here evoke the heavier side of King Crimson, despite the apparent distance between their respective worlds. Yet, the seeds planted by classic progressive rock still bear fruit today.
“Dark Bile” feels like a somewhat weaker link in the album, revisiting familiar musical approaches. It quickly gives way to “Fast Draw”, a pure sonic rampage—aggressive growls layered over an onslaught of chaotic rhythms, like magma spewing from a toxic chemical well, polluting the surrounding air.
“Someone’s Daughter”
“Someone’s Daughter” immediately captivates. Tatiana channels a modern-day Amy Winehouse, weaving melodies that explore the inner world of women through the ages. Once again, the song leans on progressive structures, drawing the listener into a rhythmic spiral that builds toward a dramatic climax, perfectly complementing the storytelling. At the song’s end, the growls return with brutal force, framed by unparalleled technical precision.
The Signature sound
“A Tongue So Sly” brings back the rhythmic and melodic elements that are signature to Jinjer, offering one of the few moments that could be considered a retreat into familiar territory. However, this is merely the illusion of a brief respite before the final duel—the title track, “Duel”.
The song launches at full speed, with clean vocals that soon shift with the first rhythmic breaks. The music is ever-evolving, with Tatiana serving as the muse of a continuous sonic and lyrical transformation. The inner duel mirrors the external conflict and vice versa. A vast battlefield emerges, stretching from the depths of humanity to encompass the entire planet, painting the landscape in blood.
There is no redemption
There is no redemption—only questions. Where can salvation come from, if not from within? Only by battling one’s old self—hedonistic, selfish, unscrupulous—can one hope to overcome this eternal dualism:
“The choice to heal or let revenge reside
No painkillers I need
I deserved it all indeed
(Though) Though I’m down on my knees
I have battled my old me.”
Final conclusions
“Duel” could very well be Jinjer’s “Black Album”—a harsh, sharp-edged work with few concessions to the melody. It lacks the accessible crossover moments of “Micro“ and “Macro“ or potential hits like “Pisces” and “I Speak Astronomy”, which helped catapult the band to global metal fame. As a result, a newcomer to Jinjer’s music may find this album a challenging and intense listen. However, in return, “Duel“ showcases the band’s continued technical and stylistic evolution, including a deeper lyrical maturity. This is an album that could become a seminal work for the future of both metal and progressive music, solidifying Jinjer as a cornerstone of the contemporary scene.
Tracklist
- Tantrum
- Hedonist
- Rogue
- Tumbleweed
- Green Serpent
- Kafka
- Dark Bile
- Fast Draw
- Someone’s Daughter
- A Tongue So Sly
- Duel
Line Up
- Tatiana Shmayluk – Vocals
- Roman Ibramkhalilov – Guitars
- Eugene Abdukhanov – Bass
- Vlad Ulasevich – Drums