Masterminding the melding of Jazz and metal has been attempted by many noisemakers but these proponents have often hailed from the metal world. Shining mainman Jørgen Munkeby has travelled a different path hailing from a trad jazz background Munkeby introduced “Black Jazz” to an unsuspecting world three years ago nailing progressive metal to free jazz and harsh electronics it was an uncompromising and experimental record which sat up and slapped the metal scene square in the face.
Fast forward to present day One One One sees Shining condensing and distilling their freeform frenzy into more traditional song structures.For some this would seem like Shining has lost its edge yet what One One One succeeds in doing is compressing these rogue elements and spewing them out in controlled bursts of kinetic energy.
Spanning thirty five minutes this high energy thrill ride is a seemly mesh of all Shining’s musical styles with all the indulgences stripped away leaving only the juicy succulent flesh for the listener to feast upon.The driving percussion and industrial guitars of ‘I Won’t Forget’ kick off this adrenaline ride recalling the manic rush of NIN circa Broken and ‘My Dying Drive’ pulls no punches with its stellar grooves.
What makes this album so inviting is how every instrument is allowed to stand out without being smothered by the rest. The frantic saxophone on ‘How Your Story Ends’ ads to the song without becoming its main focus and the electronic elements are never employed at the expense of the guitars.The album title itself alludes to Munkeby’s desire to create a series of “track one’s” or “hits” and while the songs have shorter running times than the sprawling Black Jazz this is still the bold work of an extreme act hell-bent continually challenging themselves and their listeners.
The corrosive saxophone grind of ‘The Hurting Game’ alone should serve as a vehement denial of the notion that Shining have become a straight metal act. Jørgen’s vocals while mostly screamed still allow for lyrics to be clearly deciphered and while the cold industrial sections complement the harsh guitars there is an organic feel to the songs.
In One One One Munkeby has succeeded in balancing the fine line between indulging his renegade tendencies while simultaneously delivering his most direct and simplistic album yet. While a fine collection of music never before have Shining’s individual songs shone so brightly even when removed from the context of the album. A vital and exhilarating brand of controlled chaos bravely realised and delivered with the meticulous brilliance of a master craftsman.