Jinjer
Jinjer is a Ukrainian progressive groove metal band originally from Donetsk, formed in 2009 and now based in Kyiv following relocation amid regional conflict, with the current lineup considering 2010 as their foundational year upon the addition of lead vocalist Tatiana Shmayluk.[1] The band blends elements of progressive metal, hardcore, and groove metal, characterized by intricate compositions, polyrhythmic structures, and Shmayluk's dual vocal style encompassing both clean singing and extreme growls.[1] Comprising Shmayluk on vocals, Roman Ibramkhalilov on guitar, Eugene Abdukhanov on bass, and Vladislav Ulasevich on drums, Jinjer has achieved notable recognition through relentless touring and critically acclaimed releases, amassing over 250 million streams and video views worldwide.[1] Key albums include King of Everything (2016), Macro (2019), Wallflowers (2021), and their fifth studio album Duél, released on February 7, 2025, via Napalm Records.[1][2] The group has headlined major festivals such as Wacken Open Air and Download, supported prominent acts including Slipknot and Sepultura, and secured multiple Best Ukrainian Metal Band awards, beginning in 2013.[1] Despite challenges posed by the ongoing war in Ukraine, Jinjer maintains an active international tour schedule, including headline runs across Europe, North America, and beyond in 2025-2026.[1]
History
Formation and early career (2008–2015)
Jinjer originated in Donetsk, Ukraine, in 2009, with the band designating 2010 as their effective inception upon vocalist Tatiana Shmayluk's recruitment.[1] This period involved core members including Shmayluk, guitarist Roman Ibramkhalilov, and bassist Eugene Abdukhanov—who joined in summer 2011—alongside an initial drummer, focusing on rigorous rehearsals and regional performances to develop a progressive metalcore sound.[1][3] The group's debut album, Inhale, Do Not Breathe, emerged on February 15, 2012, as a self-released effort comprising seven tracks that highlighted intricate grooves, vocal versatility, and rhythmic complexity.[4] Noticed by The Leaders Records later that year, it received an official reissue in 2013 with added live recordings, boosting local visibility.[1] This release secured Jinjer the accolade of Best Ukrainian Metal Band at the 2013 Ukrainian Metal Awards, affirming their rising prominence in the domestic scene.[1] Building momentum, Jinjer self-released their sophomore album Cloud Factory in 2014, incorporating more nuanced song structures and thematic depth while retaining high-energy riffs and dynamic shifts.[1] The record facilitated initial forays into international touring, with the band independently organizing European dates to cultivate a grassroots following amid ongoing lineup adjustments, particularly on drums.[1] These foundational efforts, rooted in persistent local engagement and self-reliant production, positioned Jinjer for expanded reach by 2015, though constrained by limited distribution and regional geopolitical tensions.[1]Breakthrough and international recognition (2016–2020)
In January 2016, Jinjer signed an album contract with Napalm Records, marking a pivotal step toward broader distribution and promotion.[5] The band released their third studio album, King of Everything, on July 29, 2016, via the label, which featured a blend of progressive groove metal elements and showcased vocalist Tatiana Shmayluk's versatile range from growls to clean vocals.[1] The track "Pisces" from the album emerged as a breakthrough single, amassing millions of views and streams through its music video and online sharing, propelling the band into international visibility within the metal community.[1] This success facilitated extensive touring, including support slots for established acts such as Arch Enemy and Cradle of Filth, spanning regions like the UAE, UK, Americas, and Philippines, which helped build a dedicated global fanbase.[1] Jinjer also received recognition as Best Ukrainian Metal Act in 2016, affirming their rising status in regional metal circles.[3] By 2019, the band had solidified their momentum with the release of the Micro EP early in the year, followed by the full-length Macro on October 25, which included tracks like "Judgement (& Punishment)" and was supported by multiple music videos to enhance promotional reach.[1] [6] Tours with groups like Soilwork and Amorphis further expanded their live presence across Europe and beyond.[1] In 2020, amid the onset of the COVID-19 pandemic, Jinjer achieved sold-out performances in Australia and Latin America, including an appearance at Mexico's Hell & Heaven Festival before tours were disrupted; they later resumed select European dates and issued the live album Alive in Melbourne in November, capturing a high-energy concert that underscored their adaptability and growing appeal.[1]Developments amid the Russo-Ukrainian War (2021–present)
Jinjer released their fourth studio album, Wallflowers, on August 27, 2021, via Napalm Records, featuring tracks that addressed themes of isolation and resilience amid ongoing tensions in eastern Ukraine.[7] The album received critical acclaim for Tatiana Shmayluk's versatile vocals and the band's progressive metal complexity, marking a period of international touring before the full-scale Russian invasion.[8] On February 24, 2022, following Russia's full-scale invasion of Ukraine, Jinjer issued statements confirming the safety of band members, with Shmayluk and others located in Kyiv at the time.[9][10] The band strongly condemned the aggression, describing it as unjustifiable and urging global support for Ukraine, including calls to halt the war and spread awareness of Vladimir Putin's actions.[11][12] In response, they canceled a planned North American tour to focus on aiding their homeland, while participating in fundraising efforts that raised significant donations for Ukrainian relief.[13][14] Resuming activities amid the conflict, Jinjer positioned themselves as cultural ambassadors for Ukraine, collaborating with the Ukrainian Ministry of Culture to tour Europe and raise funds and awareness about the ongoing war.[15][16] By late 2022, they emphasized in interviews that the invasion continued to impact daily life, with band members experiencing displacement and loss, yet using their platform to remind audiences of the unresolved conflict.[17] The war influenced their creative process, delaying new material as members dealt with personal hardships, including relocation from war zones.[8][18] In 2025, Jinjer released their fifth studio album, Duél, on February 7 via Napalm Records, incorporating themes reflective of the war's toll on Ukrainian society and the band's perseverance.[19] The album's production followed years of turmoil, with the band maintaining a rigorous touring schedule, including North American dates supporting Trivium in fall 2025 and headlining European runs into 2026.[20][21] These efforts underscore Jinjer's commitment to sustaining their career while advocating for Ukraine's defense against Russian aggression.[22]Musical style and influences
Core stylistic elements
Jinjer's core stylistic elements revolve around a fusion of progressive metalcore and groove metal, characterized by intricate song structures, polyrhythmic grooves, and abrupt shifts between aggression and melody. The band's compositions often feature syncopated riffs, djent-inspired low-end chugs, and technical breakdowns that emphasize rhythmic complexity over straightforward heaviness, drawing from progressive rock's emphasis on dynamics and unexpected transitions.[23] [24] [25] Central to this sound is vocalist Tatiana Shmayluk's extreme versatility, employing deep guttural growls and false-cord screams for brutal passages alongside clean, melodic singing that incorporates soulful phrasing and wide pitch range from A2 to G5. Her technique allows seamless switches within songs, enhancing thematic contrasts—such as rage versus introspection—without relying on post-production effects, as evidenced by her live performances and isolated vocal tracks.[26] [27] This vocal duality, paired with Roman Ibramkhalilov's angular guitar work and Vlad Ulasevich's precise, jazz-inflected drumming, creates a propulsive yet unpredictable energy, often incorporating non-metal elements like funk rhythms or reggae undertones for textural variety.[24] [28] The bass lines from Eugene Abdukhanov provide a foundational groove, locking with drums to drive mid-tempo heaviness reminiscent of Pantera or Lamb of God, while avoiding rote repetition through progressive layering and time-signature changes. This elemental framework prioritizes technical proficiency and emotional intensity, setting Jinjer apart in extreme metal by balancing accessibility with sophistication, as noted in analyses of their macro-level songcraft.[25] [24]Evolution across albums
Jinjer's debut full-length album, Cloud Factory (2014), established a foundation in melodic metalcore and groove metal characterized by heavy riffs, chugging rhythms, and Tatiana Shmayluk's versatile vocals alternating between growls and cleans, though it lacked the sophistication and genre fusion of later works.[29][1] The album's style drew from influences like Lamb of God, emphasizing straightforward aggression and limited djent elements, marking an improvement over their earlier EP Inhale, Do Not Breathe (2012) but still reflecting a band honing its identity.[30] With King of Everything (2016), Jinjer introduced progressive metal elements, blending djent riffs, jazz inflections, funk grooves, and nu-metal dynamics into a more detailed and balanced sound, highlighted by tracks like "Pisces" that showcased Shmayluk's spellbinding vocal range and the band's instrumental heaviness.[29][31] This sophomore release represented a breakthrough, evolving from the chuggy directness of Cloud Factory toward polyrhythmic complexity and emotional depth while maintaining groove metal's core aggression.[1][32] The 2019 releases Micro EP and Macro album expanded this trajectory into broader experimentation, incorporating tech-metal precision, reggae rhythms, ambient passages, and R&B/soul nuances alongside progressive metalcore, with Macro emphasizing instrumental prowess and expansive sonic journeys in songs like "Judgement (& Punishment)."[29][1] These works demonstrated heightened technicality and unpredictability, shifting from linear heaviness to multifaceted structures that recombined genres in fresh ways.[33] Wallflowers (2021), recorded amid the escalating Russo-Ukrainian War, refined the progressive groove metal formula with intensified metallic grit, strong grooves, and emotional resonance, focusing on confident riffs and less overt diversity to channel adversity into raw power, as in "Vortex" and "Colossus."[29][1] Duél (February 7, 2025) marks a bold evolutionary step, delivering dark, angry progressive metal with complex time signatures, experimental aggression, and refined shapeshifting metalcore—honed through extended recording time—featuring heavier tracks like "Fast Draw" and oriental harmonies in "Tumbleweed," pushing genre boundaries further while retaining polyrhythmic and vocal versatility.[29][34][1] Across their discography, Jinjer has progressed from groove-oriented metalcore roots to a genre-defying progressive style integrating technical complexity, diverse influences, and introspective lyricism, continually advancing through adversity and road-tested innovation.[1]Band members
Current lineup
Jinjer’s current lineup comprises lead vocalist Tatiana Shmayluk, guitarist Roman Ibramkhalilov, bassist Eugene Abdukhanov, and drummer Vlad Ulasevich, a configuration stable since Ulasevich's addition in 2016.[35][1] Shmayluk joined in 2010, originating from Donetsk before relocating to Kyiv, and her arrival is regarded as the band's foundational moment.[1][35] Ibramkhalilov also became a member in 2010, likewise from Donetsk and later based in Kyiv.[1][35] Abdukhanov has performed on bass since 2011, sharing the same regional background and relocation.[35][1] Ulasevich, who hails from the same origins and moved to Kyiv, provides drums.[35][1] No lineup alterations have occurred as of the release of the band's fifth studio album Duél in February 2025.[1]Former members
Jinjer experienced multiple lineup changes in its early years, with none of the original 2009 members remaining by the mid-2010s. The initial formation included vocalist Maksym Fatullaiev, who departed shortly after the band's promo EP release that year, paving the way for Tatiana Shmayluk's arrival.[35] Guitarist Dmitriy Oksen, a founding rhythm guitarist, contributed to the band's initial sound until his exit in 2015.[35] On bass, Oleksiy Svynar handled duties from 2009 to 2011 before Eugene Abdukhanov joined and solidified the position.[36][35] The drumming role saw the most turnover: Vyacheslav Okhrimenko played in the inaugural 2009 lineup, followed by Aleksander Koziychuk from 2011 to 2013 and Eugene Mantulin from 2013 to 2014.[35] Dmitry Kim served as drummer around 2014 to 2016, recording tracks for the King of Everything album before Vladislav Ulasevich replaced him.[37][38] These shifts coincided with the band's relocation from Donetsk to Kyiv amid regional instability and its progression toward a more progressive metal sound.[39]Discography
Studio albums
Jinjer has released five studio albums to date. Their debut full-length, Cloud Factory, was self-released in 2014.[40] The band signed with Napalm Records for subsequent releases, beginning with King of Everything in 2016.[41] Later albums include Macro (2019), Wallflowers (2021), and Duél (2025).[42][43]| Album | Release date | Label |
|---|---|---|
| Cloud Factory | 2014 | Self-released |
| King of Everything | July 29, 2016 | Napalm Records |
| Macro | October 25, 2019 | Napalm Records |
| Wallflowers | August 27, 2021 | Napalm Records |
| Duél | February 7, 2025 | Napalm Records |
Live albums and EPs
Jinjer's early extended plays consist of Objects in Mirror Are Closer Than They Appear, a self-released debut EP from 2009 featuring five tracks that established the band's progressive metal foundations, and Inhale, Do Not Breathe, issued independently in 2012 with six songs showcasing evolving groove and hardcore elements. The third EP, Micro, was released on October 11, 2019, via Napalm Records, containing five aggressive tracks including "Micro" and "Apex", which highlighted vocalist Tatiana Shmayluk's dual clean and growled delivery amid the band's technical instrumentation. The band has produced two live albums. Alive in Melbourne, released November 20, 2020, on Napalm Records, captures a March 7, 2020, performance at Max Watt's in Australia, with eight tracks from albums like Macro and King of Everything, serving as a pre-pandemic document of their high-energy stage presence.[46] Live in Los Angeles, issued May 17, 2024, via Napalm Records, records a February 2022 show at The Wiltern, featuring ten songs such as "Pisces" and "Vortex", emphasizing the band's resilience during the Russo-Ukrainian War through raw, crowd-engaged renditions.[47]| Title | Type | Release Date | Label | Tracks |
|---|---|---|---|---|
| Objects in Mirror Are Closer Than They Appear | EP | 2009 | Self-released | 5 |
| Inhale, Do Not Breathe | EP | 2012 | Self-released | 6 |
| Micro | EP | October 11, 2019 | Napalm Records | 5 |
| Alive in Melbourne | Live album | November 20, 2020 | Napalm Records | 8 |
| Live in Los Angeles | Live album | May 17, 2024 | Napalm Records | 10 |