Jono Moulds checks out the debut album from Jordan Red, for The Rock & Roll Circus. Due for release on the 11th November 2022.
Recorded at Long wave studios and produced, mixed, and mastered by Romesh Dodangoda (Those Damn Crows, Inglorious) this is Jordan Red's debut album, 'Hands that built the world'.
Fusing melodic elements of 21st-century rock and alternative metal with high energy pulses of modern punk, Jordan Red taps into the human psyche with a collection of songs that subconsciously and unconsciously tackle what it means to simply 'be' in fast, furious, and often difficult times.
The story so far. Dan Baker had been looking for a great frontman when the guitarist realised, he knew Daniel Leigh (New Device frontman) through mutual friends. The duo started demoing material and it wasn’t long before they were joined by Conor O’Keefe (bass) and Dave Fee (drums) from the band As Lions to record enough material for what would become their debut album, ‘Hands that built the world’.
The concept of Jordan Red is rooted in the band's need to seek out the truth by viewing reality through a ‘red pill’ lens. The character behind the band name was created by combining the first name of clinical psychologist Dr Jordan B Peterson and the idea of taking the Red Pill as portrayed in pop culture classic film ‘The Matrix'.
‘Awake’ (quite an apt title for an opening track), kicks off with ‘Leigh’ whaling ‘I’m awake now’ as if being sung down a statically charged telephone line, and ably helped by the main guitar riff of the tune. Straight out of the gate, it feels that this opening salvo encapsulates the hook/chorus (very strong indeed). After its initial burst, the song really does drive into life, as the band, collectively arrive to the party. A catchy and prominent line ‘floats’ above the pre-verse which most certainly gives the song even more likeability. The opening verse drops in intensity, but you know that this is just the pre-cursor to what’s to come, as the second verse builds toward the chorus, that as predicted, mirrors the songs opening. No more than a minute and a half into the tune and there’s already plenty of evidence of ‘Leigh’s’ vocal range and strength – laying an exciting marker down for what’s to come throughout this album. As opening song’s go, this is about as good as I’ve heard in a very long time. Power, melody, but above all, this is a bloody well written rock song – what a awakening!!!
‘Spilling my Blood’ starts off with a heavily effected guitar hook, so much so, that it sounds like a mix of guitar and synth. This ‘subtle’ start is broken by ‘Fee’ punctuating the mood via a snare/kick drum combination, but the forcefulness is quelled, as things even themselves back out through verse one, as light guitar and a steady drum pattern take charge. The pre-chorus rips through you with a ‘machine gun’ relentlessness, as ‘Fee’ once again forges this vibe through his playing. There’s more evidence within the chorus itself of ‘Leigh’s’ vocal range, so, couple this with the band’s writing sensibility in cleverly adding in seductive melody lines and we have a classic recipe for another top tune – love it. Sometimes, a band will add a bridge into a track, just to momentarily divert attention from the replication built into the song, however, in this case, the bridge not only acts as the required conduit, but adds some serious value to the tune. As we say in South Wales – Tidy!!!!
A speedy lead-in to ‘Beautiful Monsters’ as we are up and running without hesitation, the band once again leaning on a harmonious guitar hook/riff to set their stall out for what’s to come. As with the previous tune, we start off at pace, only for things to come ‘crashing down’ as we head into the first verse, however, this does not hang about for too long as some mighty guitar ‘chuggage’ makes sure that things start to develop more toward that powerful opening. And so it came to pass, that the chorus is indeed full of ‘fury and magnificence’ in equal measure, ‘fury’ of the band firing on all their available cylinders and ‘beauty’ as once again they can fashion a ‘big and ballsy’ chorus, full of tunefulness. The bridge adds in some commanding drum patterns and simple, but effective guitar riffs that lends itself into a final run through of the chorus. Three songs in and this is becoming more than a treat to listen to.
There’s simply no stopping this band, as ‘Way Down’ arrives as bombastically as any track so far on the album, with a very effective guitar riff. As with the formula already noted on previous songs, the primary opening torrent quickly dissipates to make way for a diluted and stripped back verse, although, there is a constant feeling that things are always just ‘bubbling’ under this thin veneer, and the band are like pensive dogs, itching to be let out. The pre-chorus adds to this, as it just builds with anticipation and expectation – and of course, that’s exactly what we get as the tune explodes within the chorus itself – and it’s another that delivers, big time, as ‘Leigh’ takes control with some exceptional vocal. For me, there is a little more of an ‘Old School’ rock vibe in this track, that floats in-between the spaces, and marries that ‘nu-metal’ sound perfectly. What can I say, another top, top track – WOW!!
An unassuming, straight forward and commercially sounding hook is created as the kick-off to ‘Hands that Built the World’ which swiftly makes itself known. Once again, this enraged foundation soon drifts away as we are left with vocal and the echo of snare drum rim shots to keep us company at the outset. But, once more my friends, there is method behind it all, as the quietness and tranquillity of this ‘lull’ only accentuates what’s about to hit us square in the face as the impressive and bludgeon like chorus motors through at 100mph, with ‘Leigh’ once again, demonstrating what a talent he is, as his vocals rise and fall with ease. As I’ve already stated, in amongst all the furore that the band use to build their tunes, there is a constant lick/hook/riff that drags you in at an instant and you are powerless to do anything other than bang your head or tap your feet – it’s that good. You know what, this must be my favourite song so far – oh my days.
A ‘searing’ guitar line and some chant along vocal phrasing (I can see that returning into the song at some point) opens the trap door to ‘Don’t let the Heavens Fall’. ‘Leigh’ opens with some softer and measured vocal that lies atop palm muted guitar chords and a solid, yet simplistic drumbeat. The first change to this arrangement comes when ‘Fee’ decides to move onto the high-hat (for what must be the pre-chorus, I can only assume). However, this change signifies that things are on the rise as the now recognisable ‘build’ starts toward the ‘centre point’ of the track which doesn’t disappoint and ensnares you into more tuneful wonderment. Immediately after this, there is the promised reprisal of that chant along vocal. The bridge produces some influence and deep, resonant guitar, coupled more of those synth fed lines, which are about as heavy a section that you’ll find throughout the song itself. Dynamic and intensely addictive – not a bad coupling to build into a song.
A ’razor’ sharp and high gain guitar riff sets the scene for the next track – ‘Freak Show’ which, along with ‘Fee’, also has his own rhythmic scene to set, that starts out as a standard kick drum intro, but then brings in a side tom, for alternate effect. This paints a picture and transcends into verse one, where ‘Leigh’ announces ‘So what you’re saying is you wanna have it your way – so what you’re saying is get in line’. The relatively low-key opening is quickly dispelled, as a backing vocal proclamation rings out, ‘Roll up. Roll up!!’ (We are starting to motor again at this point – great pre-chorus, by the way). This chant along fanfare continues into the chorus, which most certainly stands true to what has been served up before, that being, a powerful, big, and ballsy soundscapes, which ticks all the right boxes. And to complete this proclamatory triumphant triad, the bridge manages to incorporate the same vibe, before we leave the tune with another round of rousing choruses.
A bit more of an understated, nu-metal vibe to ‘Before they Burn us All’ as the mix of guitar and synth (I think?) leads the way, until a ‘phased in’ guitar signals the true beginning of the track. As pre-verse develops, the same guitar line is played, however, the tempo of the tune has been totally determined by that ‘constant and speedy’ pace, set by ‘Fee’. Indeed, the technically proficient ‘Fee’ has more of a say within the verses themselves, as there is a very clever change in pattern from verse to verse, (that lifts the songs interest for me), where a ‘punctuated’ technique, adopted within verse one, moves significantly in verse two, into a new pattern entirely – quality that. The chorus has been built around the main guitar hook, but the melody differs enough that things are not ‘muddied’ in anyway (BTW, it’s another belter!!). One of the surprising packages I’ve picked up on during this review is the lack of guitar solos, well up until this point, where ‘Baker’ finally adds his own stamp on proceedings with a sweet, WAH infused piece – it’s all feel, without the need to go at a million miles per hour – great job. A late bridge fits in with the song’s arrangement well enough and acts as the gateway to its conclusion. Phew!!!!
‘It Calls my Name’ gets underway with what appears to be a straightforward, dropped tuned ‘E string’ guitar riff, which speedily paves the way for a full band opening onslaught. As with so many of the songs, the opening intensity drops at a rate of knots, and we are left with just an unassuming vocal, solid drum pattern and a ‘glacial’ sounding synth to keep us in good company for the opening lyrics to pour forth. However, this ‘gentile’ start was always going to be a pre-cursor, as guitars begin to fill some of the quieter spaces, slowly building toward a chorus that unsurprisingly, erupts into life once again, as the intense drum pattern ensures that both authority and pace are re-established. There’s a smooth transition from chorus to bridge, where this time around, the tune does not ‘stop on a dime’, but musically extends itself and leads into a swashbuckling ‘power chord’ foray. How are they keeping this up???
After a short intro of what I can only assume is a mix of ‘crystalline’ sounding guitar lines and layered piano chords, there is then an infectious ‘barrage’ of guitar riff and aligned vocal to greet us to ‘We are Everybody’. As we move swiftly out of the intro, musically, things are somewhat ‘reduced’, but this does not mean that we lose that opening tempo, as once more, ‘Fee’ guarantees this by the pace and pattern he plays over the top, and before you know it, we have arrived at the chorus, where the full power of the song is released from its shackles, as copious amounts of overdriven guitar coats the ‘glossiness’ of the keyboard/synth ‘sparkle’, that jumps out at every opportunity throughout. The bridge has been ‘constructed’ (sorry about the play on words there, couldn’t resist) with some thought, as it’s been primarily built around a new and refreshing guitar riff, but the tunes main ‘mantra’ (‘We are Everybody’) has been added in, for good measure – nicely played. And just when you were beginning to think that this commercially biased track, well, couldn’t get any more commercial, they add the earlier, chant along section back in – clever! The tune ends with what appears to be all the key elements of the track mixed as one and played out over a new drum pattern. Great, great song.
‘Cast a Flame’ ignites with a layer of shimmering synth, while ‘Leigh’ vocalises ‘Cast a flame into the skies’, but this celestial vibe is quickly quenched, as a heavy and dominant guitar riff, competently reinforced by a dynamic drum pattern, sends the tune in a completely different direction, one that’s relentless and grips you from start to finish. It must be stated again that ‘Leigh’ impresses once more with his soaring vocal range, that adds a ‘cutthroat’ like edge to preceding’s, add in some effective and menacing guitar work from ‘Baker’ and you really have the foundations of a top tune, which this undoubtedly is. There’s even time for a ‘Eastern’ themed musical bridge, just to add a little more intrigue and flavour into a tune that has already been well ‘seasoned’ by the band. Strong as F**k this.
Alas, we arrive at the final song on this outstanding album, as I hope that ‘Get Up’ will do exactly that. As with the previous track, this starts off in a very similar vein, that being ‘Leigh’ sings his vocal line (through added effect), but instead of synth, there is some clean picked guitar lines in its stead. There is however a feeling that things will eventually take a more dramatic and intense turn, and before you know it, the intro ends on a pleasant major chord and straight into mayhem. A heavy riff, a constant guitar note drilling away into your mind and the sheer bombardment of drums and the fuse has certainly been lit. Verses pass by you like a ‘Bullet Train’, but there is enough time to admire some further examples of ‘Fee’ mixing things up, as drum patterns change from verse to verse – love that. The chorus relents a little to the speed within the verses, yet it’s still full of melody and appeal. A quick count back in on the hi-hat and we are off again – WOW!! This is some song to complete what has been a brilliant album to review.
Summation time then. OK, let’s make this as concise as I can (as I’ve really gone to town on each tune). 12 songs, no fillers, of which, none get to the 4-minute mark, great mixing and production, outstanding musicianship, great writing, and a joy from start to finish.
I’ve said for some time, that my memory is not what it used to be, but I can’t recall listening to a better album on first play in a very long time. ‘Jordan Red’ have produced a spectacular set of songs on this killer debut opus, so much so, that in my view, this is my album of 2022, without a doubt.
Review by Jono Moulds
Check out the video for Spilling My Blood (Official Lyric Video)
'Hands That Built The World' is released 11th November 2022.
. Digital pre-save: https://lnk.to/JordanRedHandsThatBuiltTheWorld
. Physical pre-order: www.jordan-red.com/collections/hands-that-built-the-world
Jordan Red is:
Daniel Leigh - Vocals
Dan Baker - Guitar
Studio/Live Musicians:
Conor O'Keefe - Bass
Dave Fee - Drums
Connect with Jordan Red:
Official Website: www.jordan-red.com/
Facebook: www.facebook.com/jordanredband
YouTube: www.youtube.com/jordanred
Twitter: https://twitter.com/jordanredband
Instagram: www.instagram.com/jordanredband
TikTok: www.tiktok.com/@jordanredband
PRESS/MEDIA ENQUIRIES: Rob Town at Stampede Press
rob@stampedepress.co.uk
Ceri Davies
Presenter and Co-Director
