Royal Blood have had an interesting time of it lately, to say the least. Their third record, Typhoons was met with broad critical praise and a decent reception from fans. The album was disco and pop-inspired and chronicled frontman Mike Kerr’s journey to sobriety: overall well received. The Royal Blood train rumbled on, where they booked huge support slots with Muse and climbed festival bills without incident until that Radio 1 Big Weekend show.
Put on the bill before Lewis Capaldi and Niall Horan, the duo were the rock filling in a white bread pop sandwich, and Kerr’s frustration at this was apparent. ‘We’re called Royal Blood and this is rock music! Who likes rock music? Nine people? Brilliant.’ Disdain that should have been aimed at their booking agent caught the crowd full on, with Kerr strutting off stage with middle fingers raised and drummer Ben Thatcher signalling the crowd to cheer up. The whole ordeal came off more petulant than punk, and the ensuing Twitter storm followed the band around like a bad smell for a while.
The duo are back with album four, with some very serious ‘rock and roll’ music for us. Lead single Mountains at Midnight blows away any cobwebs from minute one, and suggests a return to the more traditional Royal Blood template of big riffs, cacophonous drums and catchy hooks. The same can be said for Shiner in the Dark — the sludgy bassline here is vintage RB, and the cut groves like a modern Queens of the Stone Age number before a big old solo comes crashing in from leftfield. The final passage of the track is fantastic, and sees Royal Blood at their barnstorming best, jamming and rocking out with impunity — if you’re not listening to this at full volume then we have nothing in common.
Things take a turn on Pull Me Through though, which is a somewhat bizarre number with a swing that sways like a tame Bond theme, with a chorus that leans more poppy and catchy. The cut feels tame though, and whilst you have to respect RB for looking to create something a little more sensitive, it’s not their strongest suit. The same can be said for Firing Line, another piano-led track that falls somewhat flat. The cut undoubtedly has its moments, and Kerr’s voice sounds at its absolute best here, but you find yourself itching for something a little more… well, ‘rock n roll’.
Tell Me When It’s Too Late provides this in spades, however. A superbly funky and filthy bassline is accompanied by some great synthy wobbles and Thatcher’s best work behind the kit — his use of his kick drum on this number especially is unparalleled. More of the same on Triggers, before we’re back to a slower number with How Many More Times. When Royal Blood go for it on this record, they sound as good as ever, and the heightened self-production values really bring the best out of Kerr’s bass playing. Their big, catchy choruses and heavier breakdowns are superb, and some of the posturing, leather jacket rock aspects are brilliant, but the record suffers from odd pacing. During the slower or piano focused tunes, you find yourself itching for Thatcher to start pummelling those toms again.
There Goes My Cool is an unfortunate low point, it’s an attempt at an ‘end of the night’ piano ballad (albeit with some added bass parts). Whilst the solo is pretty good (not to mention some superb falsetto from Kerr) the style doesn’t suit Royal Blood whatsoever. Not to mention the ‘closer-style’ tune isn’t even the last song on the record – Waves encapsulates this album in a nutshell, and the cut gets going when the big fat bass riffs come out, just as Back to the Water does throughout.
Growth and evolution are essential for a band, but pursuing soft-rock ballads doesn’t particularly suit Royal Blood, and you can’t help but feel they’ve played it a little safe with Back To The Water Below. Despite some undeniably fantastic moments, the Brighton boys’ attempts at softer rock let the side down.
Words by Charlie Brock