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Jennings, Ross: A Shadow Of My Future Self
An integral member of UK prog rock/metal masters Haken, singer Ross Jennings appears to be making the breakthrough into mainstream prog consciousness, what with a forthcoming project with a certain Neal Morse and Nick D’Virgilio set to be unleashed before long, as well as a guest star appearance with Arjen Lucassen’s Star One - and a side-project in the shape of Novena to take care of any extracurricular hankerings you would think. Hence with all of that on the go it was, as with so many, lockdowns and a pandemic which resulted in the singer truly stretching out on his own with a solo album, A Shadow Of My Future Self.
Surrounding himself with a serious collection of musicians was the first step - well, after writing a whole host of tracks and failing to hone them into a planned for country based album - with Simen Sandnes (drums), Nathan Navarro (bass), Vikram Shankar (piano/keyboards/orchestral arrangement) and Jørgen Lund Karlsen (sax) all enlisted to the cause. As with all good solo albums, what Jennings has put together here merely hints at the day job, a mainly pop-based collection of songs allowed to bounce from prog excess to country twang, acoustic meanderings and chorus based sing alongs. What hits you first is the sound itself, being immaculate as “Better Times” opens with an accessible acoustic, almost multi-layered singer songwriter vibe. From there the journey really begins, “Word We Can’t Unsay” proving that all serious proggers seem to have a pop fixation within them somewhere, a hugely memorable chorus sitting atop brass and hooks aplenty. But with “Violet” pulsating with a powering riff and a much more complex construction that includes ever so slightly electro edges, only three songs in and we’ve already touched numerous bases.
And so it continues, “Rocket Science” fusing an 80s pop sheen to an acoustic strum and huge chorus, before “Catcher In The Rye” contemplates the notion that Jennings might just one day become Harry Nilsson! Mad, I know, but it works. “Feelings” wouldn’t be a million miles out of place on an a-ha album, but then “Phoenix” adds a dramatic, string infused grandeur that, again, you simply hadn’t been expecting. Factor in the closing slap of bonus track “Be The One”, which might just be the most hook laden romp on show, and really, this album becomes quite some accomplishment. Even with its immediacy, or maybe because of it, it may take Haken devotees a spin or two to truly take in what’s been herded together on A Shadow Of My Future Self, but once you get over that initial shock, it really is a cracking album from start to finish.
Track Listing
1. Better Times
2. Words We Can’t Unsay
3. Violet
4. The Apologist
5. Rocket Science
6. Catcher in the Rye
7. Since That Day
8. Young At Heart
9. Feelings
10. Third Degree
11. Phoenix
12. Grounded
13. Year
14. Be The One (Bonus Track)
Added: March 14th 2022 Reviewer: Steven Reid Score: Related Link: Ross Jennings online Hits: 1398 Language: english
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Jennings, Ross: A Shadow Of My Future Self Posted by Eric Porter, SoT Staff Writer on 2022-03-14 18:36:36 My Score:
Jennings is primarily known as the lead singer of Haken, and A Shadow Of My Future Self is his first solo release. Haken is a band I have been meaning to check out, so I had no preconceived ideas of what to expect here. Jennings also joined forces with former Spock’s Beard alumni Neal Morse and Nick D’Virgilio to release Troika in 2022.
The album kicks off with “Better Times”, a surprising choice for an opener, with a relaxed vibe, vocal harmonies and acoustic guitar. “Words We Can’t Unsay” connects immediately with its catchy melody and a phased guitar line reminiscent of Billy Squier’s “Everybody Wants You”. The chorus screams hit record, and the use of horns in the solo section adds something unique. The song has a few tricky and intricate changes to keep you on your toes. “Violet” immediately rips with heavy guitars and angular saxophone lines; Jennings has an ear for writing catchy pop melodies, layered vocals, and choruses that have staying power. “The Apologist” continues the trend of earworms, and the first four tracks are the strength of the album. As we move further in, tracks like “Rocket Science”, “Catcher In The Rye”, and “Since That Day” take a more formulaic in approach, predictable pop songs, a bit safe, but pleasant to listen to. “Young at Heart” stays in the pop vein, but features some nice guitar work, another plus in Jennings’s bag of tricks. The 11+ minute “Phoenix” surprised me with an opening that is fairly straight forward, but the song begins to build as it progresses. A nice piano motif reminiscent of Coldplay lays a foundation for some guitar and keyboard soloing. This builds the drama which leads to a short choral section before returning to the piano motif to close the track.
Jennings layered vocals are showcased throughout the album, I found myself enjoying his singing more and more as I listened. This is pushing me even harder to investigate Haken; I want to hear Jennings in that heavier musical environment. If you like your music loaded with keen pop sensibility and interesting musical moments, this is worth checking out. It is very well done, but I have to assume will be a bit of a surprise to Haken fans.
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