Every Jinjer album ranked from worst to best

Jinjer in 2024
(Image credit: Lina Glasir)

When the world is up in flames, at least we can trust Jinjer to wax lyrical about it. From Vortex’s exploration of cerebral torment to Home Back’s political devastation, the Ukrainians reliably transform anguish into a thing of ethereal tenderness and dizzying barbarity. And it’s all bolstered by the ferocious might of Tatiana Shmayluk, the self-proclaimed introvert that mutates into a guttural demon when faced with a microphone.

It’s been three years since last LP Wallflowers and we’re practically scratching at the walls by now, desperate for new Jinjer. Luckily, the gang’s upcoming live album, Live In Los Angeles, will keep us satiated for now. But, while we wait for new Jinjer originals, we thought we’d delve into the depths of the band’s strongest studio records. Here’s how the their discography stacks up…

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4. Cloud Factory (2014)

Cloud Factory pales in comparison to what Jinjer would go on to release, never quite capturing the genre-weaving sophistication the band began dealing in later in their career. There’s a dishearteningly limited palette, with a low degree of djent, as well as a lack of quirky jazz or funk flares. Plus, the slew of melodic metalcore can at times blur into one.

However, that by no means makes this a weak album – hell, Cloud Factory is a stronger effort than some bands are able to muster years into their career. Its commendable clatter of melodic mayhem saw the four-piece iron out the weaknesses of their Inhale, Do Not Breathe EP, already showcasing their ability to grow and prune their sound. Who Is Gonna Be The One is an absolute beast, and Outlander continues to prove a standout across Jinjer’s entire discography. 

3. Wallflowers (2021)

2021’s Wallflowers is absolutely menacing. From Colossus and Mediator’s monolithic wall of drums to As I Boil Ice’s formidable groove, this record serves up some of the band’s most confident tracks to date. Standout song Vortex totally subverts writing conventions, forgoing the classic verse-chorus-verse structure in favour of a slowly unravelling epic. The track also serves up some of Tatiana’s most impressive vocals, ending on an intimidatingly ferocious breakdown and deep gutturals.

In all its swaggering, defiant glory, Wallflowers is a top-notch example of Jinjer’s formidable chanteuse in action, as well as the mix being the most refined the band have ever sounded. But it definitely focuses on metallic grit and bite rather than diversity, which does leave you yearning for more.

2. Macro (2019)

In line with the album name, 2019’s Macro sees Jinjer traversing a broad scope of genres and sonic textures. From The Prophecy’s tech-metal tinge to the gentle yet brutal vocal onslaught of Retrospections, plus Judgement (& Punishment)’s glorious burst of reggae, Jinjer go on an intrepid sonic journey throughout the runtime of this record. Closer Liannerep feels like the culmination of the odyssey: an utterly gorgeous, fluttering, devastating whirl of mystical ambience that puts their instrumental prowess at the forefront. Furthermore, bassist Eugene Kostyuk positively shines on this record, basslines dominating and elevating each track.

Macro is like a fine wine: its nuances only grow and expand with each experience. Many would call this a top-notch example of Jinjer’s abilities – and, if we were including the 2019 accompanying EP Micro, we may agree. However, as a standalone, we’d argue one other record just snags the crown…

1. King Of Everything (2016)

Let’s face it – nothing will ever compare to the magic Jinjer captured on King Of Everything. Rather than crumbling under the weight of the so-called “sophomore slump”, this record is lightning in a bottle, a flourishing display of prog metal might. Jinjer leave no stone unturned, desperate to prove that Napalm Records made the right call in signing them. Tatiana’s vocals are truly spellbinding, switching between hell-sent wrath and soaring singing on tracks like Pisces with ease.

Sonically, King… is brilliantly balanced, serving bruising djent breakdowns alongside the jazz-infused bounce of top-tier banger Beggar’s Dance. Jinjer truly went all-out on this release – not to mention the fact Prologue and Beggar’s Dance are entirely made up of lyrics from the rest of the record. The effort and attention to detail on this record continues to stun to this day.

Emily Swingle

Full-time freelancer, part-time music festival gremlin, Emily first cut her journalistic teeth when she

co-founded Bittersweet Press in 2019. After asserting herself as a home-grown, emo-loving, nu-metal

apologist, Clash Magazine would eventually invite Emily to join their Editorial team in 2022. In the

following year, she would pen her first piece for Metal Hammer - unfortunately for the team, Emily

has since become a regular fixture. When she’s not blasting metal for Hammer, she also scribbles for

Rock Sound, Why Now and Guitar and more.