Album Review: Rival Sons - Great Western Valkyrie

Blues rock is a genre which is mostly filled with uncertainty and a lack of mainstream attention, and while the likes of Jack White may be able to open his form of rock with a hint of country lap steel to the attention of the global music scene, very few other artists have done this. 

Seemingly unintentionally, Rival Sons have made their iteration of blues rock more accessible through catchy, melodic riffs and a refined sound which is a definite innovation from their earlier work.

At a glance, or listen, Rival Sons emit a sound which sounds like the best thing from American rock since the Black Keys, and while they’re not the first to the more classic rock orientated revival scene, they could easily represent it.

The opener to the album, ‘Electric Man’ is an example of what is to come. A song which opens with razing riffs, quieter verses and well-executed choruses, and best displays the unrestricted, widely appreciated style of rock which all can enjoy. Little is held back in the album, and when the band isn’t going all out, the separation and limitation of instruments is a welcome break, rather than feeling like the album is deprived of energy. 

As a whole, ‘Great Western Valkyrie’ is brilliantly paced; while the guitar of Scott Holiday may sound a tad overpowering at times, you can usually hear the arsenal of drum and bass too, from Miley and Beste respectively. The resulting sound is one that invites comparisons to early rock legends, and is nostalgic without growing tiresome. You’d be forgiven for thinking that any song on ‘Great Western Valkyrie’ is a future classic.

Speaking of classics, for me, ‘Belle Starr’ manages to nail the varying tempo rock song, especially in its latter half. The simple notes and screaming vocals nicely compliment the plodding pace, and show how a rock song can end slowly without the need for dramatic, quick endings, and Holiday’s outro riff to the song proves it can be done. 

‘Destination on Course’ however, is the most emotive and dramatic track on the album, and a fitting finisher. Fly through the choir vocals and unhinged build up, and if you’re not sold on the album, the upcoming instrumental will. In the song, everything clicks together. Jay’s vocals and the angelic choir which supports them, the classic solo section from Scott, and in the end Miley and Beste’s performances nicely tie up the song with one or two tiny piano sections in their for good measure. It’s a great attempt of a song which shows the enthusiasm of the band, and just double checks that you can appreciate the effort put into the album before you must part ways.

The album, the fourth offering from the band, isn’t restricted to class rock. While still heavy, songs such as ‘Rich and The Poor’ hold more country-like elements, with a quiet guitar humming along to Jay Buchanan’s vocals, which wouldn’t sound out of place in a classic action film, or alternatively, your own choice of Tarintino film. The combination of slower verses and more emotive chorus sections are again present, but rather than becoming a repetitive predictability, it adds consistency to the band, and solidifies their position in the rock genre, and justifies frequent comparisons with icons such as Led Zeppelin and Deep Purple.

With the likes of Rival Sons, Royal Blood and Radkey blowing up in recent months, its set to be a great year for rock in all its forms, with blues, industrial and punk elements of the genre all exploding in popularity. ‘Great Western Valkyrie’ best shows how accessible rock is, and how it has been dearly missed, but much more importantly, it is a great album in its own right. 

Put frankly, if you don’t engage in the message of the album or the lyrics, there’s still plenty to enjoy in the form of the catchy guitar riffs and excellent vocals of Rival Sons in what is arguably their most refined and progressive work to date. It’s simple rock, and it’s enjoyable for all.