Since their debut in 2002, Norway's
Shining have pushed their own envelope. Founded by multi-instrumentalist and vocalist
Jorgen Munkeby (the only constant member), they began as an avant acoustic jazz group, then embraced more diverse elements over time -- mainly industrial and extreme metal. With their 2010 breakthrough album
Blackjazz, they created their own genre; it melded all of the above and more. Almost everyone who has ever liked this group's recordings has complained about something. That won't change with
International Blackjazz Society, the group's debut for
Spinefarm. Where 2013's
One One One de-emphasized jazz in favor of heavy metal,
International Blackjazz Society actually de-emphasizes metal in favor of dark, atmospheric, speed-crazed, industrialized hard rock. "Admittance" kicks off with
Munkeby's alto sax skronk (a la
John Zorn's in
Painkiller), but is quickly disassembled when the band enters. Perversely, their "intro" is a crescendo that disappears altogether in a series of guitar and keyboard vamps that resemble early
dEUS meeting a young
Blue Oeyster Cult. The added layers of saxophone become quirky melodic additions to a distinctly rockist attack. Working again with mixing engineer
Sean Bevan (
Depeche Mode,
Nine Inch Nails), an industrial approach to rock makes sense. To that end new keyboardist
Eirik Tovsrud Knutsen has a prime role in shaping and sculpting swirling backdrops, even in the most riff-laden jams -- check the dark, churning, bloodcurdling anthem "Burn It All." The set's first single, "The Last Stand," has a pumping piano a la
the Stooges' "I Wanna Be Your Dog," but it's consumed by gigantic snares, blustery sounds of hurricane-force winds, and a gnarly, bluesy guitar riff that turns toward metal before
Munkeby's saxophone solo brings in another
Stooges reference, this one "L.A. Blues." (The video of
Shining playing this live on a 700-foot high cliff top is amazing.) "House of Warship" is a killer instrumental that melds spiraling, noisy free jazz and extreme metal in trademark
Shining fashion. "Thousand Eyes" is midtempo, crunchy, metallic hard rock based on a single riff -- with killer drumkit work from
Tobias Ornes Andersen.
Munkeby's saxophone solo claims the instrumental bridge with a smoking solo. Closer "Need" comes out of a hard rock blues riff before it takes off with amphetamine rage.
Andersen's double-time playing atop
Hakon Sagen's shard-like guitar riffs and
Ole Vistnes' drop-tuned distorted bass add a jagged edge.
International Blackjazz Society is
Shining's most accessible album, and it sounds like they had a blast making it. The intensity, black humor, and blackboard-scraping cacophony is all here, with a semblance of disjointed jazzy melody for balance. If this band gains a larger audience as a result of their rapprochement with hard rock (using a saxophone to accomplish it, no less), good on them.
International Blackjazz Society is not only smartly conceived,
Shining's songwriting, arranging, playing, and production are also completely inspired. ~ Thom Jurek