Rival Sons - 'Darkfighter'

‘Mirrors’ emerges unexpectedly, the sound of hazy organ shattered by the first of many huge riffs. The rhythm section thunders in with power and groove. And then there’s that voice; undoubtedly the cherry upon an already very tasty cake. If Jay Buchanan had been born in a different time, he might have been heralded as one of the greats; blessed with a voice both soulful and raw, his significance as frontman cannot be overstated. ‘Mirrors’ makes wonderful use of dynamics, sections of gentle acoustic guitar preceding the explosive chorus to give a real sense of drama. 

It’s a trick also employed to great effect on the startling ‘Guillotine’. A track that grabs you by the throat and shakes you in less than ten seconds, it’s an absolute monster. The commanding riff and relentless bass throb marry perfectly with the heavy subject matter. ‘Am I closer to heaven or closer to hell?’ asks Buchanan, first quietly, with restraint, before switching to absolute desperation. It’s an incredible performance, a rumination on mortality has never sounded quite so thrilling. 

And it’s not the only track that tackles death head on; ‘Nobody Wants to Die’ is a strong contender for single of the year, the rhythmic thump of Michael Miley’s drums underpinning another irresistible Scott Holiday riff. It’s fast paced and driving, Buchanan testifying like a crazed preacher before that chorus kicks in with a line you can’t forget; ‘Nobody wants to die, but they know they’re gonna have to’. A track surely destined to become a staple of the band’s live oeuvre, it has a pleasing familiarity that harkens back to other Sons classics; think ‘Electric Man’ or ‘Pressure and Time’. 

In contrast, ‘Bird in the Hand’ is more of a departure, the elegant acoustic introduction giving way to a track that stomps along at a laid-back pace, interspersed with an almost sluggish guitar hook (I mean that as a compliment). There are a number of surprises to follow; the rousing chorus of ‘Bright Light’ conjures the warmth of gathering around a campfire, ‘Rapture’ feels similarly uplifting, the unusual ascending guitar motif elevating the track to something almost spiritual. ‘Horses Breath’ is quite unlike anything the Sons have produced before, galloping on relentless drums without ever reaching any real resolution. There’s the ‘too late’ hook but no big chorus, no real climax. And yet, the almost dreamlike feel is addictive and calls you to listen again.

‘Darkside’ concludes the album, Buchanan’s rich vocals laid bare in verses where he is accompanied so subtly that you can hear every nuance in his delivery. It’s classy, beautiful and broken up with sections of foreboding guitar. 

If you think they don’t make them like this anymore, prepare to be pleasantly surprised. Rival Sons are making rock music the way it was meant to sound whilst never allowing themselves to be constrained by the genre. As the first of two albums set for release this year, 'Darkfighter' will leave you hungry to see what the forthcoming 'Lightbringer' has to offer.