Repping the British music scene, four-piece girl group Neon Jungle have released their début studio album, Welcome to the Jungle. The group, comprised of members Sheereen, Amira, Jess and Asami, are hoping to serve up a sassy filled and edgy album that is riddled with their previous hits. So, just how successful are they?
The album is a mix of EDM, electro-pop and dance-pop, incorporating rhythmic versions of hip hop and trip hop elements. Welcome to the Jungle is definitely a mix of popular styles and quirky sounds, and if you want an apt description of the group, we’d say they probably remind us of a slightly more edgy version of the classic ‘pop girl group’, with unique and different styling than you might expect. There are elements on the album where there is true difference and inspiration, and some of the tracks certainly have that radio-friendly acoustic that has proved so popular, but there are elements to it which make it that little bit more ferocious. We probably like Neon Jungle best when they are at their most edgy, brimming with attitude and style, and when their personality is truly able to shine through the tracks.
Examples of these on the album would of course be their debut hit ‘Trouble’, which is a mix of electro and dance-pop, and features one of the catchiest hooks we’ve heard; ‘They say “Here comes a hurricane,/ Trouble is her middle name!”/ But I don’t look for trouble,/ Yeah trouble looks for me’. The beat is pretty electric in this track and the emphasis on ‘Trouble’ is notable and really stands out amongst the other hits on the album. Of course, it was the song that got the group noticed, so it’s always going to have a special significance in Neon Jungle’s career history. Additionally, one of the sassiest tracks on the album is undoubtedly ‘Bad Man’, which switches between airy, electro beats and a more lower, darker ‘grime-esque’ beat, reminiscent of artists like Gwen Stefani and Nelly Furtado. It’s an interesting sound brimming with (and we can’t believe we’re saying this) ‘swagger’, and it is very confident and allows the ladies’ personality to shine through – which is comforting as with a rather constructed girl group you can often have songs that are devoid of all personality (this is unfortunately the case on some tracks from the album, despite their initial promise).
We’re also a bit partial to ‘So Alive’, track-listing number 9, which has a very uplifting feel mixed with the classic electronic beats that Neon Jungle are known for. There are elements to the track that sound almost like bird squawking, but we kind of like that! The raise in vocals on the chorus is especially notable as the 4-piece group sings; ‘Play all night, we’re not afraid/ We are, we are, we are/ So alive, so alive’ – we’re partial to a long note, and the depth of the hold on the latter part of ‘so alive’ is euphoric.
Other notable tracks on the album include the rap/pop infusion ‘Braveheart’, which is an intriguing mix of classic pop and quick-talks from the quartet in a rather more modern sound and take on the usual route girl-group tracks can take, and ‘London Rain’, which showcases their diversity, not to mention a pretty on-point harmony that echoes the Girls Aloud era (although we definitely think Neon Jungle can sing better – sorry girls!).
Tracks we have developed a love-hate relationship with include ‘Louder’ – hear us out. The song is certainly a different turn and style that the ladies haven’t show before, by releasing a ballad-esque piece with loud instrumentals that are almost deafening. This sound grows on us, but we would have liked the vocals to be even more deafening than the music, as it can feel like the vocals are lacking in comparison to the rather overwhelming beats. Additionally, ‘Welcome to the Jungle’ is another example of this, as whilst we like the points in the track where it takes on its own style (in the form of impromptu pop-rapping from select members), it sounds a bit too similar to some of their previous work.
The flaw in Neon Jungle’s construction is not dissimilar to that of Foxes’ Glorious, in that it is a bit too well-constructed (we’re looking at you producers!), which can often create tracks that are devoid of personality like ‘Can’t Stop The Love’ and ‘Sleepless in London’. This type of pristine perfection can often feel a little suffocating, as listeners often want to actually hear the personality of the singer/group instead of the sound of the producers that reflects so ominously in the background of the song. Whilst we can’t fault many of the undeniable ‘hits’ that the album has, there is some evidence of the dreaded ‘album filler’, where it’s quite clear that some tracks haven’t been treated to the same time and dedication that other songs have enjoyed. It’s obviously a difficult task to churn out countless hit, but whilst some albums manage to reach this almost seamlessly (albeit a few), Neon Jungle’s Welcome to the Jungle just falls short of the mark which would earn it a few more elusive stars. However, there are enough hidden gems in the album to redeem it, and make it at least worthy of a listen (if only to discover which tracks are your favourite!). Frankly, ‘Bad Man’ is a diamond of a track, and we’re secretly hoping Neon Jungle chooses to release that one next. Welcome to the Jungle is out now and available via iTunes, Spotify, Amazon and other musical retail stores.
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