Historians often rightly regard religion as the cause of wars and suffering down the ages, but - let's face it - rock'n'roll would be a far less fertile pasture land were it not for The Bible (especially the Old Testament) and its' suitably colourful input.
Of course, there are those out there who believe JJ72 frontman and mastermind Mark Greaney (an ex-choirboy and Jesuit college student) bases his whole musical output on his upbringing. Indeed, it's one of the reasons that the young Dubliner tends to polarise opinion. This writer can call on individuals in his immediate circle who'd be happy to either canonise or, alternatively, smash Greaney repeatedly around the head for what he does.
Actually, this writer would tend to feel that any band who provoke such extreme reactions (with precious little middle ground) are barking up he RIGHT tree. Indeed, JJ72'S second album, the pretentiously-titled "I To Sky" is not going to win over their detractors as it's resolutely po-faced and chock full of (aha!) religious imagery.
However, it's wrong to knock a man for being ambitious and indeed "I To Sky" is infinitely further reaching than the band's eponymous debut. In terms of scope and the employment of the Flood/ Alan Moulder production/ mixing team, comparisons with The Smashing Pumpkins' sprawling "Mellon Collie & The Infinite Sadness" are probably inevitable (and not entirely erroneous in terms of grandeur and opening with the piano-led "Nameless"), but - if were looking for sonic parallels - "I To Sky" is far more reminiscent of The Cure's relentlessly doomy meisterwork "Pornography."
Certainly, tracks like "I Saw A Prayer" and "Sinking" bear out this line of thinking. The former features spinning drums, chunky guitar riffing and desolate keyboards sweeping in with a deathly chill from the Urals, while on "Sinking", Hilary Woods' bass isn't so much subterranean as emanating from the Earth's Core. Insistent, if brooding (and lengthy at seven minutes), it makes wallowing in misery sound surprisingly attractive.
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Unlikely as it might sound, Greaney has suggested the band "relaxed" while making "I To Sky", and in places this is borne out. Despite employing stern lyrics involving angels, drowning and unrequited love, "Half Three" features excellent group playing and actually gets under your skin immediately; the recent single "Formulae" improves immeasurably on repeat plays and comes over all tantalising and ethereal and - best of all - "Always & Forever" touts a much cleaner guitar sound and (heaven help us!) a funky dance beat before gliding into a cool chorus. Fantabulous.
Admittedly, some of this gear is a little too weighty for comfort. "I To Sky" clocks in at around the one hour mark and your reviewer could manage nicely without the overcooked Goth leanings of "Serpent Sky" and stillborn efforts like "Brother Sleep" and "City": both of which sacrifice tunes on the altar of pomposity. Rather like Matt Bellamy, Greaney's voice can also be a bone of contention and on tracks like these, his relentless sermonising grates.
So, yeah, some of "I To Sky" is serious enough to soundtrack a Soviet submarine disaster, but overall there's some terrific stuff here that ensures this is an impressive step forward from their debut. Besides, ambition shouldn't be easily derided and we shouldn't be so ready to dismiss Greaney's star-grasping aspirations even if he does do an Icarus en route on occasion.
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