Extended Play 031: The Jungle Giants - Love Signs
Words by Georgia Griffiths
Brisbane’s The Jungle Giants have asserted themselves as one of Australia’s premier live acts over the past decade. Quickly becoming a mainstay on the festival circuit, they cut their teeth making fun, guitar-infused indie-pop. Their music has evolved as technology becomes more accessible, culminating in their technically brilliant latest LP, Love Signs. Produced entirely by frontman Sam Hales, it’s their most adventurous work yet. There’s still glimmers of the old Jungle Giants - twangy guitars make an appearance throughout and Hale’s falsetto is still centre stage - but this time they’re leaning heavily into the electro-pop foundations laid by their previous LP Quiet Ferocity.
We initially got a taste of Love Signs way back in 2019 with the raucous track ‘Heavy Hearted’. The track placed 8th in that year’s triple j Hottest 100, setting the scene for what was to come. While COVID-19 put a spanner in the works for any touring plans, it saw Hales return to the studio to put the final touches on the LP. Further singles were drip-fed throughout 2020 and early 2021, with ‘Sending Me Ur Loving’ and ‘In Her Eyes’ making a splash with both old and new fans. ‘Sending Me Ur Loving’, coincidentally, also landed at 8th in the 2020 Hottest 100. While accolades like that aren’t always a sign of good things to come, it does highlight one thing The Jungle Giants do incredibly well: create accessible music. Whether it’s guitar-laden or synth-driven, they have a knack of producing tracks that bring together the best parts of a genre.
There's a touch of everyday life throughout Love Signs. From the crunch of steps on gravel in ‘Monstertruck’ to the ringing of a phone at the start of ‘Love Signs’, Hale has utilised his surroundings to bring another layer of depth to the album. Most poignant is the voice memo at the start of ‘Charge My Phone’, which sets the pace for the track. It’s an intimate look into Hales’ process, complete with a collaborator’s input and the ramblings of a kid in the background.
It’s hard to find an average track on Love Signs. Each song brings a unique sound to the table, and while the four singles gave listeners the vibe of the album there’s so much more to hear on the other tracks. Tail-end tracks ‘Monstertruck’ and ‘Something Got Between Us’ showcase Hales’ production skills in a way that really draws the album together. ‘Something Got Between Us’, in particular, creates an entire atmosphere within 4-and-a-half minutes. It’s upbeat but reflective, and is worth many repeat listens.
‘Here I Come’ feels as close to older tracks from the band as the LP gets. It’s powered by a driving bassline, complemented by layered vocals, with Hales floating over the top. The swirling production is new, but at its heart this is a good old-fashioned Jungle Giants track. The outro flows smoothly into ‘Something Got Between Us’, which always feels special.
‘Heartless’ feels like it could partly be a response to Kanye West’s 2008 track of the same name. Whether intentional or not, it’s hard to not draw a parallel between West’s “how could you be so heartless?” and Hales’ repeated “how could we be so heartless?”. Hales follows up this question by asserting that he “don’t mean to be heartless baby”. It’s fun to imagine a conversation between Hales and West, and adds an extra layer to a track that’s already a lot of fun.
Overall, Love Signs is very much worth the four year wait. It’s a polished album that flows well from start to finish, with every track carrying their own individually too. It’s a complete level up for The Jungle Giants, and cements their position as one of Australia’s most versatile bands.
The Jungle Giants (Provided)
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