EP REVIEW: Sunhead – Plini

Where instrumental metal is concerned, Sydney’s PLINI is a bona fide modern progenitor. Springing into action back in 2012, the Aussie shred-extraordinaire made haste in taking the prog scene by storm, whetting the appetite of the community through numerous singles, and following this up with the now renowned ‘trilogy’ of EPs. Guitar maestro and composition eccentric, PLINI‘s initial career trajectory proved to be virtually unprecedented, the one-man, bedroom-based project spiralling uncontrollably into a global phenomenon.

With the world and a guitar pick at his fingertips, next he sought to bring the beloved project from the bedroom to the stage, electing to bring bassist Simon Grove and drummer Troy Wright along for the ride; a lineup that morphed into a semi-permanent fixture, just in time for the recording of debut album Handmade Cities. A blinding success all round, the phenomenal full-length now approaches it’s official second anniversary, and so with what appears to be a well-established, global adoration for PLINI‘s delectable brand of silky, easy-going prog-fusion, what better time to keep the wheels turning and add to the collection?

Sunhead being a humble offering of just four new songs, not a second is wasted as the sweet sounds of opening track Kind grace the ears of the listener. Familiar chimes of PLINI‘s warm, charming guitar tones cascade into the fore almost immediately, with an intro lick that prompty sets the tone for another instalment of sonic delight. With the intro hook firmly established, the song begins to seamlessly metamorphose into into an infectious chorus melody. The already-memorable opening lick dances atop the mix, whilst a series of serene, delicate tremolo patterns flourish in the backdrop, forming a delightfully satisfying soundscape, typically characteristic of PLINI‘s ultra-conscious songwriting persona. The song very much predicated on this chorus-of-sorts, the remainder of the track proceeds to flit back and forth, striking a comforting balance between the hook section and a torrent of PLINI‘s archetypal, jazz and blues-inspired soloing. Rounded off by a beautifully crisp and well-balanced mix, this opening track barely falters in establishing one clear message: PLINI is back, and at his very best.

Next up is lead single Salt + Charcoal. A song clearly crafted with the intention of true memorability, this is a track that will doubtless already strike PLINI fans as being fondly familiar. Once again, a soft, delicate intro lick sets a strong precedent, with the ultra-clean tones of PLINI‘s famed Strandberg gradually creeping in as the song poises to shift into gear. With faint chimes of the aforementioned hook still lingering in the background throughout, the song launches into a sprawling array of grooves, riffs, and soloing, with each component coming across as deftly fine-tuned, and wonderfully balanced. The robust, earthy clanks of Simon Grove‘s bass tracks ebb and flow accordingly, whilst newly recruited drummer Chris Allison serves to compliment the picture wherever possible, with subtle accenting here, irregular phrasing there, and perhaps one of the most beautifully expressive and resonant snare tones possibly attainable. Flirting with a different dynamic entirely, Salt + Charcoal also offers a surprise in the form of SKYHARBOUR‘s Devesh Dayal, a significantly reputable name amongst PLINI‘s clandestine cache of ‘friends’, cropping up to deliver a subtle but tasteful serving of atmospheric backing vocals. Notwithstanding the deluge of orchestral-esq. layering lurking beneath, this song ultimately achieves a simple but imperative feat: it bypasses the typified showmanship and braggadocio of instrumental prog-metal, and replaces it with tangible formula and songwriting prowess, with the final product conveying as balanced and tastefully reserved. Though perhaps not the most technically ‘impressive’ song in his archives, Salt + Charcoal very much acts as a microcosm of PLINI‘s true craft: exuding technical proficiency, whilst always staying true to the notion of credible songwriting.

Now self-proclaimed as ‘PLINI + Friends’, what was once a solo, bedroom-residing project, has evolved into an epic, sprawling collective, and Sunhead‘s final two track are where this notion really comes into fruition. Most notably, third track Flâneur presents an equation containing all of the beloved hallmarks of a PLINI song, with the welcome addition of perhaps his most ambitious and dynamic approach yet. From the very get-go this is a track that truly feels different: with Allison and Grove combining once again to establish a robust spine, the attention to qualities such and groove and rhythm feel far more consciously pronounced here. The product of this approach is something that conveys as somewhat removed from traditional prog-metal; rather, traces of hip-hop, electronica, and jazz begin to seep in. As it turns out, not only is this fitting, but unequivocally deliberate, with both electronic artist Anomalie and saxophonist John Waugh making truly profound contributions to the song. Anomalie‘s services, whilst slightly more subtle in nature, certainly add a unique dynamic in the final product, offering an array of traditional jazz and swing style piano sections, in addition to a series of synth-lines that are sporadically deployed underneath the mix, adding another layer to the calculation entirely. Resident saxophonist of acclaimed indie band THE 1975, John Waugh‘s contribution is certainly far more overt: being given the spotlight for a substantial period, Waugh is permitted to perform a substantial solo section atop the bass and drums, utilising the warming, jazzy tones of the saxophone to deliver a wonderfully expressive and elegant performance, wrapping the song up expertly, and applying the final lick of paint to what is truly a vibrant, sonic mural.

Final track, title track, and the EP’s second-longest offering, Sunhead wraps things up nicely. Here we see a pleasantly well-balanced amalgam of just about everything explored in the three songs prior. Characteristically of PLINI, the expert-level songwriting is present, the technicality is present, the palpable emotion is present, but so is the grooviness, the jazz-inspired flavour and the remarkably eclectic range of instrumentation. In addition to a pleasant guitar solo from Tim Miller, bassist Grove is truly allowed to take the floor in this song, adding to his familiar, baritone assertiveness with a remarkably impressive solo midway through the song, once again touching on the theme of jazz and blues, and again adding a new dimension to the equation entirely. Closing out once more on a wildly atmospheric crescendo section, complete with rigid rhythm and sprawling lead-work, fourth track Sunhead concludes PLINI‘s fifth official release in true style, paying homage to the contents of each of the three preceding tracks, and establishing its own character and charm in the process.

It seems there’s no more appropriate sentiment to offer than the one posited near the beginning of this review, so we’ll just quote ourselves: “PLINI is back, and at his very best”. This much, is irrefutable. Though a frustratingly short instalment, Sunhead, in simple terms, offers everything one expects from PLINI, with plenty more to accompany it with. In equal measure, we’ve seen the content that we expect, and the content that we don’t, all wrapped up into a neat package, all at a consistent level of quality; there’s little more one could hope for from a musical release. Prior to the EP, we would have confidently predicted that PLINI would continue to grow exponentially as an artist, gaining yet more love and appreciation worldwide, his career flourishing as a result; now, we can say the same, but on a far more profound level, with the Aussie ace’s brand having expanded in a bigger way than few could have expected.

Rating: 9/10

Sunhead is set for release on July 27th via self-release.

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