Royal Blood
The first riff on Royal Blood's debut is enough to explain the appeal. “Out of the Black” has a heavy, distorted pull, and Ben Thatcher's drums make every stop and restart count. Mike Kerr's bass fills a much wider space than the instrument's name might suggest. The duo create their force through the way the parts meet, with enough melody to make the impact stick.
“Figure It Out” is particularly good at changing direction without sounding indecisive. The vocal hook gives the song a clear shape, then the instrumental movement lets it escape that shape before the ending. “Little Monster” has a more deliberate swing, with Thatcher leaving room for the bass figure to carry its own weight. “Come on Over” is more compact and direct. These songs show that the band's appeal extends beyond the surprise of hearing two people make such a large sound.
Kerr's voice is an important part of the balance. He is melodic enough to stop the record from becoming only a sequence of riffs, but his delivery has enough roughness to remain inside the same musical world. “Blood Hands” slows the movement and gives the album a moodier center. The later “Better Strangers” also brings a slower shape that helps the sequence avoid ending as another burst of the same energy.
The limitations are audible in a few tracks where the repeated figure has to do more work than the vocal melody can support. “You Can Be So Cruel” is less gripping than the strongest material, and some structures become easy to anticipate. Still, the album is focused enough for those weaknesses to stay small. Royal Blood make a persuasive debut by connecting a distinctive sound to songs with recognizable hooks. The best moments have the excitement of a rhythm section discovering how much it can say together. “Out of the Black” sets the standard, and several tracks meet it from slightly different angles.
