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It's hard to believe that JR Ewing announced their impending breakup not long before the release of their latest full-length, Maelstrom. The album feels natural and comfortable, and doesn't particularly give the impression that the band members needed to move on and start something fresh.
JR Ewing has a history of writing frantic songs, which continues on Maelstrom, but there's a certain level of control and restraint that keeps the music away from schizophrenic grounds. The band, instead of consistently playing with outright intensity, pads their traditional screamo- and hardcore-inspired surges with drawn-out, textured post-hardcore. Characterized by jagged, mid-tempo drumming, songs structured around climactic peaks, and dark instrumental melodies, it's enough to add a lot of depth and feeling to Maelstrom.
Maelstrom is a guitar-driven record and, using a variety of effects and playing styles, Erlend Mokkelbost and Hakon Mella unveil a number of unexpected influences. Between atmospheric, effects-driven playing, jangly strumming that has a contemporary indie rock feel, manic, Refused-like riffs and delicate picking sequences (check out "Change Is Nothing (Everything Is)"), JR Ewing explores little pieces of different genres without taking it too far. Plus, Andreas Tylden’s unique vocals, which encompass biting screams and high-pitched, surprisingly good singing, and the busy rhythm section are always in place to tie together the loose ends.
This isn't the sort of record that makes people wish a band would stop embarrassing themselves and throw in the towel. With a slick, glossy visual aesthetic and an ample production job, JR Ewing is going out with a healthy bang and a resonant scream.
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