Vinnie Jinn – “28th May” from the album “Joyful Noise”

Vinnie Jinn has resurfaced with a masterpiece in a wistful, cathartic blend of organic and electronica – his new studio album “Joyful Noise”. The artist, music producer, composer and patron of the arts, connects directly with listeners and delivers some of his most emotional and groove-inducing music to date. Vinnie weaves electronica, with organic instrumentation – most notably the guitar and piano – delivering enough underlying feeling and intelligent arrangements to keep any listener’s interest. Though technically an electronic based artist, Vinnie Jinn uses sampling and live playing in such a way that he often sounds more like the leader of some jazz fusion band or cinematic orchestra, rather than an electronic producer behind the boards.

Though there is a definite live feel to “Joyful Noise”, Vinnie Jinn never tries to hide the electronic aspect of his music, which is showcased in the smooth breakbeats, sampled sounds, and effects. Even the cover artwork designed by Kyiv-based artist Alia, which depicts various phases of the moon, indicating important dates to the artist, and also days of the upcoming single release premieres, is well thought-out.

Right from the opening track, and lead single, “28^th May”, Vinnie Jinn combines his live playing and electronic production to create his own style, which is something like groovy, breakbeat-driven lounge music with a whole lot of emotional ambiance and rumbling basslines.

Things get mellower, shimmering and warmly glowing on “End Of Rain”, before the haunting bang of the funky “Mordko Fajerman” sets in, horns and all. Vinnie does a nice job of leading the listener into increasingly more rhythmic territory.

“Funky Shadow” gets into full gear with the piano, guitar and sax leading the way, but underneath, the resonating basslines add considerable substance to the head-nodding beat. “Orange Zest” and “Last Noon” forge highly cinematic soundscapes with powerfully percussive templates, and expansive instrumentation, all of which leads us to moody and bluesy “Jaugust”. Vinnie Jinn music exudes both skill and feel in equal parts, which can be clearly heard here.

“Like A Sparkling Water” rides on a determined beat and a wave of strings, taking us directly to the title track, “Joyful Noise”, which leaves plenty of space for Vinnie’s haunting guitar motifs and prominent piano chords.

On the whole, the album twists and turns through a number of different moods, going entirely cerebral in some areas before returning to its emotional core. “Mellow” wallows in a bed of vibrating synth pads and rolling percussion, before Vinnie totally flips the script on “Sunday Morning Jazz”, which sounds exactly as it says.

Though electronic, an organic warmth flows like an ocean current through “Suspension”, inundated with throbbing percussion and choral-like interludes. There’s a sense of time moving and the earth spinning, yet also an air of serenity, on the album closer “Out Of Time”.

By the time we reach the endpoint, it is clear that Vinnie Jinn certainly is in a league of his own, delivering rich, majestic sounds suited for both intimate headphones as well as big cinema size halls. Vinnie sounds equally masterful and laid-back in his craft, delivering a number of soulful and slick tracks on “Joyful Noise”.

Vinnie Jinn creates some striking pieces on this album, often smooth and groovy, but also using vibrant sonic colors to create arrangements that immediately capture the attention of listeners. Vinnie creates moods and atmospheres that feel organic and earthy, while never sacrificing the edginess of electronic music.

“Joyful Noise” has already being making noise in the industry and the media, while selected songs are already to be included in the soundtrack for the animated film “Moon Kontrol”, created by Pitch Dev Studios and currently in production.