Talk about making an impact on a scene. When One Desire, in 2017, released their debut single “Hurt”, it was instantly taken in by Rock radio, at least in Sweden it was, and was put on heavy rotation. At first, I wasn’t that impressed, I thought it was a pretty decent Melodic Rock track but it grew on me more and more by each spin and when their self-titled debut album was finally released, I loved the song and couldn’t wait to sink my teeth into it. And what a beast of debut album it was. That album was stuck in my iTunes library (no I don’t use effing Spoticrap!) right up until the release of their brand new album – and the album has kept growing on me ever since. I love the album dearly and yes, I did buy it even though I had the promo. I like to buy records, see.
This means that when One Desire now release their new record, it comes with some major expectations – and then some. This is a band that, in my case, went from nobodies – I had never heard of Sturm & Drang at that point – to a band with a killer album on their CV, that they had to top – or at least equal. And that must come with a fair amount of pressure. Apparently it did, as they spent an enormous time on writing and recording it – they actually scrapped a whole record because they weren’t fully satisfied. How’s that for dedication in a time when lots and lots of people are content with watching videos on YouTube and making playlists on streaming services. Me, I couldn’t wait to jump head first into the band’s second effort.
The album opens with the latest single “Shadowman”, a single/video that pre-dated the album’s release. Hand on heart, I was a bit disappointed when I first watched the video but when I had the album in my headphones, I changed my mind quickly. It opens with a classic movie dialogue and a big instrumental atmosphere before monstrously fat riffing and a punchy rhythm kicks the song into gear. It’s a bit darker in sound than what we’re used to with verses that holds back some before the majestic chorus comes crashing in – catchy as can be – and right there and then, I surrendered completely. It’s a bit on the melancholic and melodramatic side, but man those melodies – they’re to die for. Splendid stuff.
The album’s leading single “After You’re Gone” follows – and that one too felt a bit too mainstream at first listen, which made me a bit worried about the album’s outcome. But again, once I had the tune in my head-phones, my mind changed once again. It’s an uptempo AOR meets Melodic Rock tune, a bit sullen but still a driven tune with a straight-forward rhythm. It’s quite smooth and slick with a “whoa Whoa” hook to go with it but it never gets mawkish or sugary. It’s a killer track and that it didn’t become a major hit is beyond me. With a title that’s been used a little too often, “Down And Dirty” proves to be an uptempo, uplifting and quite slick pop-song with a Scandi-AOR smelling sound. I’m not that sure about the modern synth-pop-sound in the intro but then again, it do hold a chunky drum rhythm and a contagious chorus that sticks right away. Good one.
The uptempo AOR streak continues with “Godsent Exstasy”, a crowd-pleasing number with a rockier outlook. Here the guys mix mid 80’s sounding synths with crunchy guitars and a solid rhythm made for the stage. As for the chorus, it’s a huge one that etches itself to the brain with superglue and that’s also when the tune heavies up some. I’d make this a single if I were them. Brilliant. “Through The Fire” starts out sparse and soft, acoustically laden with balladry tendencies. Still on the ballad side, the song bounces up and takes a heavier approach, very bombastic and punchy which then leads into a kicking and rough yet slick and catchy refrain. The solo-part of the tune brings a massive and thunderous turn with both heaviness and grit. To say that they probably were inspired by Led Zeppelin’s “Stairway To Heaven” when the arranged the song is probably not to stretch things. This is awesome!
In both sound and style-wise, “Heroes” reminds me of their debut, so much that it could be a left-over from those sessions. It’s an upbeat Hard Rock meets AOR stomper that mixes slick and direct vocal-melodies with rowdy guitars and a solid, tight and straight ahead drum-beat. Again, the refrain is the icing on the cake but over-all it’s a damn catchy number from riffs to melodies to the instant refrain. Very good. It’s ballad-time when “Rio” shows up (not a cover of the Duran Duran track, thanks a lot). On a slow and soft note, the ballad opens with a sparse piano and brings on an almost musical-theatre touch and a dreamy soundscape with a smooth main-melody. The main hook is totally addictive and is easy on the ear but even though it’s full-on AOR, it never gets cheesy or mawkish. It also holds a magnificently gorgeous guitar solo and an amazing chorus. Single this, dudes. Awesome!
With more gritty guitars and a fat and heavy rhythm section, “Battlefield Of Love” takes on a heavier and rougher outlook. That being said, AOR-ish vocal-melodies is lurking around the track, bringing on a smoother glance. It’s a melodic Hard Rock tune with pop-harmonies and it makes me think of Pretty Maids’ more pop-laden rockers – and how can you go wrong with that? You can’t. A very good track. “Killer Queen” is not a Queen cover – it takes guts to name an original tune that – and it’s a bouncy rocker with a pumping bass, striking drums and raunchy guitar-riffing that even holds a slight Metal twist to it. It also holds a slightly darker keyboard arr., shorter laid-back passages and AOR-laden melodies and a catchy refrain that doesn’t appear radio-friendly at all. Very good.
As a closer we get “Only When I Breathe”, a sullen and emotional ballad with a saddening, mournful arrangement that really gets under my skin and it comes across as very honest and real. It’s the album’s most stripped song, slow and occasionally earthy but it’s also a bit slick here and there when it comes to vocal-melodies. A soothing keyboard arrangement and a beautiful acoustic guitar solo takes the song’s dynamics up and the huge refrain that sends a slight nod towards power-balladry is one of those that stick immediately without going on a sugar-rush or floating on a sea of cheese. A brilliant tune that should be a single – and a great closer.
So. While the first spin left me somewhat cold – I have to remind myself that this was also the case with the debut – it didn’t take long for my musical mind to pick it up. Style-wise, it’s easy to hear that this is a One Desire record – they do sport their own identity – but this one feels a bit darker and not as glossy as the debut – more down to earth. Quality wise, it’s just as good its predecessor and maybe it can grow even further on me. After living with the record for a while, it’s really hard to find any downsides at all, but that being said there are a couple – there almost always are. Firstly, it’s a bit too produced and polished with some unnecessary auto-tune here and there – a little more dirt wouldn’t have hurt – and secondly, I miss some faster and heavier tracks such as “Buried Alive” from the debut. But other than that, it’s a splendid album with solid song-writing and stellar musical skills from all the members.
8/10
More One Desire reviews:
Tracklist:
1. Shadowman
2. After You’re Gone
3. Down And Dirty
4. Godsent Extasy
5. Through The Fire
6. Heroes
7. Rio
8. Battlefield Of Love
9. Killer Queen
10. Only When I Breathe
CD & Festival reviews 