South of Salem - 'The Sinner Takes It All'

Rewind time 6 months to 21st February 2020 and it was all looking so much better for Bournemouth genre-straddling band South of Salem. Their first single had been released with a glitzy music video and they were playing a well-received debut show in their hometown with plans afoot to move the band on to bigger and better things. It could be said that musically, life was good and the future was bright. But only a few weeks later, the world stopped. Literally! The 5-piece band would’ve been forgiven for wallowing in self-pity whilst thinking of what could have been; however, they chose to seize the opportunity to push forward, culminating in debut album ‘The Sinner Takes It All’, due to be self-released on 25th September 2020.

First names are all that’s required when you’re a member of South of Salem! Consisting of Joey on vocals, Kodi and Fish (not that one!) on guitars, Dee on bass and Pip on drums, the band convened at Grindhouse Studios in Suffolk with producer Scott Atkins to record ‘The Sinner Takes It All’. Atkins has pedigree in metal music, having previously produced albums by genre heavyweights Cradle of Filth and Amon Amarth whilst members of South of Salem have honed their skills on the road, supporting acclaimed bands such as The Damned, Iced Earth and Wednesday 13th. Could such a talented and experienced combination make an album that stands out amongst the multitude of new hard rock and metal releases?

For the first few seconds, album opener and first single Let Us Prey tentatively mirrors Slayer’s brutal Raining Blood with the sound of falling rain before a clap of thunder introduces some impressive drumming and the immortal spoken line “We begin with a reign of terror”. It’s not quite terror but the track starts with a fast pace that doesn’t let up for the duration, driven along by heavy rhythm guitars, bass and backing vocals that aren’t totally unlike the school choir sound employed by Pink Floyd in The Wall. Joey’s vocals are menacing and gritty, particularly when delivering lines such as “You know we’ve got no future, baby” whilst remaining loud and clear. I’m pretty certain a layer of keyboards make an appearance from the bridge until the end, adding an extra depth at the last chorus. It’s a blistering start and a great introduction to the band, with a fantastic performance video that’s worth checking out on YouTube.

In the press release for the album, second track The Hate in Me is described as dealing with “toxic people and the toxic effects of living our lives on social media”, including those who “drag you down and suffocate you”. Such a current, relevant topic deserves music and lyrics to match… and the guys don’t disappoint. A chunky opening riff makes way for a very melodic chorus mirrored by some lead guitar and backing vocals, reminding me a bit of Alice in Chains. There’s some guitar soloing on this track, in the middle and towards the outro. In rock and metal music, shredding and lots of notes can often be found in the solos, sometimes unnecessarily. Guitarists Kodi and Fish are clearly wise to this expectation, choosing to shake things up by delivering something a bit slower and more melodic but doing so with the same amount of power and finesse. Next track No Plague Like Home starts with a sound akin to Velvet Revolver or a much heavier version of Appetite for Destruction-era Guns N’ Roses! The gang-style backing vocal shouting the song’s title will undoubtedly be a hit in the live arena where I’m pretty certain the audience will join in with vigour! Special mention to Pip and Dee (bass and drums respectively) for keeping the momentum going with solid rhythms that don’t miss a beat.

First impressions of South of Salem are that they’re not the type of band to write a ballad. Surely they’re all about straddling that thin line between hard rock and metal with power chords, riffs and loud drums? I was wrong! Now, it would be a stretch to call Pretty Little Nightmare a ballad but it’s most certainly a melodic song about love that’s made for commercial radio! Don’t be fooled into thinking it’s all love hearts and roses though, as ultimately it’s about misplaced passion and the ease in which you can fall for the wrong person! You could say that lyrically it’s a bit like Every Breath You Take by The Police… not quite as sweet and innocent as everybody thinks! Beginning with a lone guitar, it’s a mid-tempo rocker, building up the verse from only bass, drums and softer vocals to the band being in full flight by the chorus. The short but well constructed guitar solo and Joey’s brilliant vocal performance are highlights and fit perfectly with the melodic vibe. I’m pretty certain that if South of Salem could get a break in the US market, this song would be a great starting point.

It’s a return to a heavier but no less melodic sound with Made To Be Mine, which starts with a chilling sound-clip about murder! The verse is driven along by solid, heavy, riffing rhythm guitars that lead to a surprisingly melody-laden chorus with some classic “whoa, whoa” backing vocals. Again, to my ear, a layer of keyboards appear to be quite low in the mix but provide an extra oomph to the chorus. Joey’s lead vocals seem to be quite effortless on this track, hitting every note but at no point sounding as if he’s straining or challenging his range. That’s the sign of a good vocalist; never over-singing for the sake of it.

In early July, second single Cold Day In Hell was released along with a superb music video filmed in a crop field on a sunny day with a black cloaked, buxom female… like a sexier, gothic version of the Scottish Widows model! If it sounds good already, wait until you actually hear the song! From the moment of the first guitar riff, you just know this is going to be a cracker and it doesn’t disappoint. Some crushing riffing that Metallica would be proud of, a smidgeon of twin guitars at the beginning and powerful drumming all underpinned and driven along by some monster bass playing. That’s before you add in the hook-laden chorus that will have you singing along in no time. Joey’s vocals are full of bitterness, anger and angst as he sings “You say you hate me. You wish we’d never met. I know you love me baby. You just don’t know it yet” and “It’ll be a cold, cold day in hell before I let you get away”. I’m pretty certain this is controlling and stalker type behaviour that the local constabulary would be interested in hearing about… but that’s what’s unique about this band. Other artists write about either heartbreak and breakups or finding your forever love. South of Salem prefer to explore the darker side of relationships that are hidden away and never spoken about but in reality, are no less prevalent in society… and then they pair it with heavy, brooding, hooky riffs! Cold Day In Hell is a shining example of that successful pairing. Other reviews have compared South of Salem to the likes of Stone Sour but frankly, this a song that Corey Taylor and co can only wish they had written! Genuinely outstanding!

With an album title that is obviously inspired by the Abba song of a similar name, perhaps it’s no surprise to find a James Bond-inspired title in track 7, Demons Are Forever! But if you’re looking for similarities to Welsh songstress Shirley Bassey in the actual music, look elsewhere. The Defiled/Red Method keyboardist The AVD provides additional instrumentation that creates an epic, cinematic, orchestral sound to this song, which lyrically deals with a person allowing their demons to define them and “the lasting effects of mental illness, loss, addiction, guilt, sorrow and grievance”. If ever there was a time to tackle such an important issue, it’s now! The intro has a similar but darker vibe to Metallica’s Fade To Black but from there on in, it’s a slow, heavy, dark, brooding song that will hit a raw nerve with many in these difficult times. There’s an atmospheric bridge with a military-sounding snare drums section that leads to a guitar solo played with real emotion and feeling. It’s the type of song that really needs to be listened to in the dark, with either headphones or good quality speakers to fully appreciate the scale of the production and musicianship. I believe this song will be released with a video at some point in the near future, aimed at raising suicide awareness and acting as a message of hope for people struggling. If it saves just one person by letting them know help is there, then it’ll be the most important song they’ll ever write!

The tempo picks up again with Another Nail In My Coffin, which apparently is “a deviant take on the saying ‘another notch on the bedpost’”. Now you know!! This is possibly the most straight forward rock track on the album with a repeating guitar and bass riff and serious beating on ‘the toms’ by Pip. The macho, gang-type vocals reappear before the guitar solo and I challenge you not to annoy your neighbours by trying not to join in shouting “you’re just” and “hey” whilst pumping your fists in the air! This leads to penultimate track Severely Yours, a song that lyrically examines the effects the destructive nature and temptations of modern life can have on long term relationships, including extra-marital affairs and easily accessible pornography. Jings… heavy stuff indeed! There’s a really modern sound to this track with tight, staccato riffing often found in tracks by bands such as In Flames and other modern metal artists. It’s a real headbanger from beginning to end!

The album closes with Dead Hearts Don’t Break which builds up from a lead guitar hook with power chords to a song that rocks from beginning to end. Bass and guitar rhythms mirror one another in the verse to create quite a wide, panoramic sound, whilst a steady drumbeat keep things moving along as Joey’s vocals tell another story of depression and heartache. As reflected in the rest of the album, the chorus is melodic and accessible whilst remaining relatively fast and heavy. “No more heartache. Had all the misery I can take” pleads Joey as the song nears an end. No wonder he’s had enough! It’s been a brutally heavy and honest album from beginning to end!

‘The Sinner Takes It All’ is an apt title for an album that is brave enough to tackle some of the darker themes in life. Greed, corruption and abuse have become the norm and those involved in such sinful endeavours always seem to walk away unscathed whilst their actions often blight others with heartbreak, depression and tragically suicide. On this debut album, South of Salem wanted to at least tackle this behaviour and highlight that the world knows it’s happening and recognises the devastating effect it has on normal lives. The music is a perfect vehicle for this anger and protest; heavy, riff-filled, dark, atmospheric, even menacing at times.

This album might not change the world. It might not be a pivotal Live Aid-style moment, changing views on life outside our own little bubbles. But it’s certainly a statement that’s being made loud and clear. It’s a statement that says life has to change and wrongdoing must be challenged… whilst simultaneously showing that hard rock and metal is in good hands. This is undoubtedly one of the best hard rock/metal albums I’ve heard in a number of years. Every track is a killer… a rare thing in an album, no matter the past calibre or legacy of a band. If you want to find challenging, unique, heavy music that straddles hard rock and metal, get yourself to Salem… and head south!