Introducing… JJ72

As I understand it, they were screwed around by their record company. How else could a band with such raw teenage energy dissipate? Perhaps that question answers itself. The traces of their uncompleted third album can be found scattered across YouTube and the internet in the form of demos, B-sides, and grainy live performances transferred from VHS. These traces are amplified on their two official albums, JJ72 (2000), and I to sky (2002), which demonstrate a blend of (pre-indie) rock, grunge, and pop; the styles prevalent in the 90s and ‘naughties’. ‘Energy’, however, is definitely the word that underlies their work. Enjoying success in their late teens and early twenties, stage antics, smashed guitars, and heart wrenching vocals came naturally and typified their performances.

Technically, the band never progressed beyond three chord rock with novel rhythm guitar playing or basic arpeggios and power chords, supporting angst ridden teen lyrics. This is displayed on perhaps their best known song in the UK, Oxygen: A three chord rock ballad with lyrics concerning romance in the ever expanding modern world. However, this was enough to create progressions to dance to, and support Mark Greaney’s stunning vocals. On some of their slower songs his voice is capable of piercing the listener in a manner that causes the hair on the back of their neck to stand on end. Indeed, at their high point, the band toured with MUSE, and one wonders whether Greaney’s powerful and haunting falsetto was an influence on Matt Bellamy’s own vocal style.

Formed in 1996, with Greaney on vocals and electric guitar and drummer Fergul Matthews while at college, their music is filled with youth and a feeling of teenage coming of age which sparks both that energy, but also adds a certain innocence to their work - After all the Irish group took the name JJ72 from a window at their college composed of 72 jam jars. With bassist Hilary Woods (later replaced by Sarah Fox) the band achieved fast paced success with charismatic shows on a rigorous touring schedule. What comes across most in their work is a solid approach to songwriting, a novel approach to rhythm, and vocal lines that hit on something more meaningful. Their heavy songs are memorable, while their slower songs are haunting and ethereal. In the latter, the guitars are often loaded with reverb, and a subtle overdrive that causes the note to echo, linger, and create a depth to the sound.

It could be speculated that the band was brought along too soon and were too young to cope with the pressures, and prejudices, of success and the record industry. However their teenage optimism and innocence is what gave the band their individuality. It really is a pity that they split and did not release that third album, although I hope this introduction encourages the reader to give what was released a chance.

It is difficult to recommend specific songs as the work on their albums flow through changes in dynamics and tempo to form well rounded albums that frame their singles. It is easy to just let their CDs play through. Their major hits include: Oxygen, October Swimmer, and Formulae. Some great B-Sides and unreleased titles include: Desertion, Someday, Nothing in this World, and Maria.

Hilary Woods has since released a wonderful concept album entitled, The River Cry, which I hope to review elsewhere.