Band of Skulls don’t do things conventionally. In a rare turn of events it’s the UK catching up with America as the Southampton trio begin to make a name for themselves at home having already succeeded stateside. Tracks in a Mustang car commercial (ala Killers ‘Mr Brightside’ on UK TV) and appearances at American festivals established their worldwide appeal. Add to that a blistering second album at a time when many bands falter and you have a pretty formidable outfit. And that’s before they’ve blown your ears off!
It’s business as usual from Band of Skulls as their second album ‘Sweet Sour’ takes off with the explosive title track. From the distinctive opening riff to the cataclysmic chorus it’s hard to believe such a sound would be possible from a three-piece. ‘Bruises’ is no less exhilarating despite a less aggressive tone. The dual vocals of guitarist Russell Marsden and bassist Emma Richardson add a distinct dimension to the sound and beautifully interact to create a devastatingly delicate balance between the subdued verse and the in your face chorus. The first tracks are epitomised by gritty, heavy guitar and bass lines layered under cutting vocals which lodge themselves in the mind to be hummed for hours after.
‘Lay My Head Down’ is the first of the album’s few ‘quieter’ tracks. But just as your guard is lowered the bass erupts for just long enough to remind you this is a heavy rock band at heart. Again, the layering of vocals adds a quality to Band of Skulls’ music which makes it truly unique. Whether dominated by Richardson with Marsden in the background to add resonance, or vice versa to add a higher end to the harmony the combination sets the music apart from any comparisons.
Normality is resumed with the deliciously heavy opening to the highlight of the album ‘The Devil Takes Care Of His Own.’ The stand out track of the album combines everything that is great about Band of Skulls into an orgy of driven guitars and bass, crashing drums and instantly infectious vocal hooks. Matthew Hayward’s rock steady beat is punctuated by flurries of snare or bass drum activity, all expertly timed to complement the other instruments and show that there’s more to this band than great vocals and guitars.
Arguably the biggest step into a new direction is ‘Wanderluster.’ With a noticeably different drumming style dominated by hi-hats and a less guitar heavy verse, the focus is firmly on the interaction of vocals and percussion. As the most adventurous track on the album it could be an exciting insight into what we can look forward to from Band of Skulls’ future releases.
Dominated by acoustic guitars, ‘Navigate’ and ‘Hometowns’ highlight the versatility of the band before a return to the standard riffage in the excellently titled ‘You’re Not Pretty But You’ve Got It Goin’ On.’ It’s back to frantic drumming and loud guitars for the penultimate track ‘Lies’ with Marsden achieving the sort of riff driven chaos usually attributed to Tom Morello. The album closer is relative serenity compared to the preceding chaos. ‘Close To Nowhere’ relies on delicate guitar work with vocals to match and despite its subdued tone manages to end the album on a high.
To label Band of Skulls as simply blues rock or heavy rock neglects the intricacy and unpredictable edginess in all of their songs. It’s certainly rock, but with a distinctly modern twist taking the efforts of Jack White et al to a new level. ‘Sweet Sour’ aptly describes the album as combining two distinct characteristics into one expertly finished product. The sweetness of the deliciously gritty rockers and the sourness of the emotionally driven acoustic tracks are balanced perfectly to make the traditionally career defining second album a success for Band of Skulls.
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It’s business as usual from Band of Skulls as their second album ‘Sweet Sour’ takes off with the explosive title track. From the distinctive opening riff to the cataclysmic chorus it’s hard to believe such a sound would be possible from a three-piece. ‘Bruises’ is no less exhilarating despite a less aggressive tone. The dual vocals of guitarist Russell Marsden and bassist Emma Richardson add a distinct dimension to the sound and beautifully interact to create a devastatingly delicate balance between the subdued verse and the in your face chorus. The first tracks are epitomised by gritty, heavy guitar and bass lines layered under cutting vocals which lodge themselves in the mind to be hummed for hours after.
