As the holiday season eases in, up-and-coming artist Marley Jauz released his debut album, Sinister Minds— a fresh, modern take on popular genres from the 80s with a clear influence from legends like Michael Jackson. With striking themes of time slipping away and a longing for something more, Sinister Minds immerses you through spectacular vocal performances, even if at times the mix can become muddied and tracks can overstay their welcome.

Released under the artist name Churgney Gurgney (a rather nonsensical name that serves as a broader label for Jauz and his collaborative partners), Jauz’s debut is messy but offers a lot of substance and replayability; it is a consistently engaging listen, and it impressed me for a first-time release. The concept is somewhat confusing, being a blend of R&B influence and modern electronic elements, and while the record is definitely bloated, the potential is evident. The production is generic for a majority of the album, but I adore the use of descending piano chords and more compact, fast-paced drums; it really brings the sinister aspect to life. While it does have some mediocre tracks, like “The Fire Rises” and “I Did That,” there are undoubtedly highlights here.

The album kicks off with “I Miss The Quiet”, a solid New Jack Swing record featuring a fantastic vocal performance from Jauz. One of the first things that I noticed is how captivating Jauz’s voice is. Most of the tracks have vocals provided by Jauz himself, but a few feature various other artists harmonizing in the background or even serving as the lead. It makes great use of a Rhodes piano driving the chords of the song, reminiscent of Michael Jackson’s dance pop tracks, especially “Thriller.” “Feel That Dread?” is just incredible, as the song’s mixing is the clearest in the album and the production is layered cleanly. It opens with subtle hi-hats, a funky synth bass, and a complete lack of reverb, establishing an almost eerie tone with the absence of other instruments. It is interesting to note that almost every song is in a minor key, typically associated with more somber or “evil” emotions because of the way the intervals align with human speech in anger or sorrow.

My main issue with almost every song is the inconsistent volumes between the vocals and instrumentals. Every performance on its own is excellent, but the voices can feel muted in the mix, which is irritating and ruins some of the catchiest songs. “Red Handed” is the most egregious example of this, as the harmonization between the two singers is completely drowned out by noise and harsh frequencies. Low drones and dissonant harmonies are used to develop a foreboding tone, yet they are pushed aside as high screeches and discordant pitch bends become the loudest sounds in the song.

Michael Jackson’s influence on Jauz is most apparent through the strong use of range and character. Jauz frequently flits between four octaves on average, using the contrast between high and low ranges to guide each melody; a technique used by Jackson in songs like “Dirty Diana” and “Leave Me Alone.” He evokes Jackson’s tenderness through soft piano arpeggios and warm guitars leading the intermissions between tracks. While Jackson’s character is captured tonally, Jauz tends to branch off in his lyrical decisions.

Oftentimes, the lyrics and writing feel like they are trying too hard to say something striking and contemplative. While the themes in each song are usually clear, some word choices and diction can become repetitive, and the messages of individual tracks can become lost in verbosity. Lines like “and as the beasts are lurking” and “I gave you life that you left to be thrashed” in “The Fire Rises” feel like they try too hard to be more complex than necessary. Sixteen songs comprise the catalog of Sinister Minds, but I think the album would have greatly benefited from decreasing the scope and focusing more on what works. While I enjoyed both “Meatshow” and “Don’t Come Back”, they can start to drag as the chorus kicks in for the third time or an extended instrumental break occurs in a song.

My absolute favorite track is “RUNAWAY”, a more hip-hop/pop-inspired song that still kept consistent with the darker tone. As a big fan of musicals, I am amazed by the progression, the storytelling of the lyrics, and the music itself. Not a single section of the song repeats, playing on the idea of existentialism and freedom through its lyrics.

After listening to Sinister Minds, I am confident that it stands as a promising and remarkably ambitious debut, one that makes it easy to overlook flaws as the audience is drawn in to Jauz’s creative direction and artistic vision. Inventive ideas, compelling performances, and the unique genre fusion of old school R&B and modern electronic music make it an exciting introduction to a potential star. If this is just the beginning, then I look forward to what comes next from Jauz under the Churgney Gurgney label.