Blog Post
VANDENBERG - 'SIN'
Laura DQ • 25 August 2023
Album Review
If you didn’t know guitarist Adrian Vandenberg was once a member of Whitesnake, you could probably hazard a pretty good guess after listening to ‘Sin’. There’s more than a glimmer of the aforementioned ‘Snake in this revved-up hard rock, albeit the supercharged version that has prevailed since the 80s as opposed to the blues rockers of old. Even newcomer Mats Levén’s vocals conjure latter day Coverdale; it’s not meant as a criticism, so before you assume I’m going to write ‘Sin’ off as a pale imitation, I would argue that it’s actually more consistent and enjoyable than anything Whitesnake have released for a number of years (er… sorry David!).
Retaining the rhythm section of drummer Koen Herfst and bassist Randy van der Elsen from comeback album ‘2020’, Vandenberg (band and guitarist) sound poised to attack, the percussive introduction of ‘Thunder and Lightning’ setting things up nicely. It’s a straight-up, driving rocker, elevated by Vandenberg’s impressive fretwork and a particularly powerful vocal courtesy of Levén.
Though not even close to a concept album, there does seem to be a worrying preoccupation with setting things on fire! Not convinced? Then let’s do a quick round up! There’s ‘Light it Up’, a proper party starter, not to be confused with the Kris Barras track but similarly rousing and just as catchy. And ‘House on Fire’, a song that boasts a spectacular riff and subverts your expectations, a flurry of clever pinch harmonics with a real metal edge - “it’s about to get hot” indeed. Then there’s ‘Burning Sky’, a real thrill that offers one of the best solos of the album.
But the album’s towering centrepiece is the title track. Sprawling and grandiose, ‘Sin’ emerges gently, unsuspecting; the pretty guitar and swathes of keyboard not betraying what awaits. But the transformation is spectacular, an epic reminiscent of Zeppelin’s ‘Kashmir’. Seven minutes seem to pass in half the time, the result of a track where no moment is wasted.
Vandenberg’s incredible solos and understated flash might be the main attraction, but they are never allowed to detract from songs that are truly melodic. The choruses of ‘Walking on Water’ and ‘Hit the Ground Running’ have no business being quite so catchy. Even the obligatory power ballad is really very good; ‘Baby You’ve Changed’ feels heartfelt, rueful, and, nestled towards the back of the album, doesn't mess with the otherwise energetic pace.
There’s something almost sinister about ‘Out of the Shadows’, a child’s voice suddenly banished by a heavy, slowed down riff that brings a feeling of foreboding. It's an excellent track and closes the album with real class. Tempted to ‘Sin’ yet? You should be.