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Glasswerk Review 'Backlash Cop'

'Defiance, empiricism and gnarl'

It's nigh on eight years since this thundering and expansive Northern Irish quartet Jetplane Landing first struck a chord together, deciding that trip-hop, hip-hop, grunge and a 70s rock/early metal grind is a combination worth fighting for. Largely treading through the paths first paved by House Of Pain and the Beastie Boys, the album opens up with the stern confidence of the title track that lofts the flag high for the cause of the independent artist.

A drop down in tone for the meaningful, funky soul slide of "Dizzy Gillespie For President", gives Andrew Ferris the chance to soar out his vocal power, instilling meaning and thinly veiled feeling. Also, the interludes of Led Zeppelin type riffs, gives bite to this five minute plus offering of heart and range.

Throughout the fourteen tracks on display, reverence is given to At The Drive-In and Mars Volta, in terms of the rustic tripped out vibes and meaningful vocal slant. Largely prevalent is the likes of "Lungs of Punk" and "Jamerson Used The Claw".

Cahir O'Doherty, keeps the bulk of the offerings on a rasping rhythmic track with retro guitar prowess that often binds the songs together, around the uncompromising vocal slings and arrows. The sauntering soul drum beats concealed within "Climbing up the Face of Miles Davis", provides a colourful coating that contrasts with the more mundane vocals on show and is one of several tracks that is made by the instrumental pounce.

Some bands are happy stuck in a rut and when it is a rut of defiance, empiricism and gnarl, Jetplane Landing seem happy to dig deeper into it.

- David Adair, Glasswerk