Except for those who goes “who?”, James Durbin is known as the American Idol finalist who got the gig as the singer in Quiet Riot. Two studio albums – Road Rage (2017) and Hollywood Cowboys (2019) – and one live-album, One Night In Milan (2019) was what he contributed to before he jumped ship. Fact is, he left the band only days before the last album was released. Personally I wasn’t that impressed by any of those albums and without trying to sound like a first-class a-hole, I never really got all the praising that has been thrown Durbin’s way as a singer. I don’t think he’s bad at all it’s just that I really can’t see what’s so special with him either.
When Durbin debuts with the band that carries his surname, it’s not Quiet Riot Hard Rock that we’ll be treated with. No, James Durbin has gone Metal, something he says that was always his bag. While it’s always nice with influences from the early 80’s – think Judas Priest and Dio – and band-members such as bassist Barry Sparks (Yngwie Malmsteen, Dokken, MSG, UFO, Ted Nugent, Uli Jon Roth) and drummer Mike Vanderhule (Y&T), I’m still totally clueless of how good a song-writer Durbin is and who actually wrote the songs here. This means that I have no expectations here and that this album is a completely clean slate.
Opening with the single, humbly called “The Prince Of Metal”, Durbin isn’t the least shy to show where his influences lies. Judas Priest and Iron Maiden both shows up here, the latter is even so close that the the verses shamelessly borrows from “Phantom Of The Opera”. It’s a full-blown Metal belter, far away from any Quiet Riot we know. This is a heavy, blasting 80’s stadium-metal bouncer where melodies and and power gets an equal share. It also gives us a chorus to scream our lungs out to. Yes, I really dig this. Machine Head guitarist Phil Demmel and Fozzy singer Chris Jericho shows up in “Kings Before You”, another single. This uptempo mix of plain Hard Rock and classic Metal isn’t as strong as its predecessor but is a real jawbreaker – hard, heavy and edgy with rough and sharp guitar sound and a rowdy rhythm. It’s an ok track without being an impressive one.
The upbeat and straight forward “Into The Flames” is more of a classic 80’s sounding Hard Rock number with a more melodic structure when it comes to the vocal-melodies which are smoother than the previous songs. It’s by no means poppy or slick – the song comes with twists of Heavy Metal and the guitars are sharp and it blasts on with a kicking beat. The big melodic twist is a clear plus here as it combines heavy music with catchy melodies and a hooky refrain. Good one. “The Sacred Mountain” is a mid-paced and slow-grooved Metal stomper with a darker atmosphere where heavy Hard Rock from the 70’s and 80’s meet, not a far cry from Dio’s first couple of albums. Speaking of Dio, Durbin lets his inner Ronnie James out in this track as well – and he does a good job at that as well. Distinct melodies and chugging guitar riffs is the recipe for making a winner out the song. Very good.
The title-track is a damn heavy and muscular classic Heavy Metal bouncer. It’s a bang-on-target, in-your-face and straight forward powerhouse where the 80’s are very prominent. The riff is a beast and the rhythms of Vanderhule and Sparks is really a fist in the gut – very solid and hard. Durbin hits some high notes as well and the vocal melody is direct and effective and the refrain strikes like freight-train. Very good. Latest outing “Evil Eye” comes on with some beefy, doomy Tony Iommi riffing mixed with chugging guitars straight out of Dio’s pocket and a galloping rhythm slightly borrowed from Iron Maiden. It’s a punchy metal-belter with striking melodies and a big melodic sense in the chorus making it a catchy one. Very good.
“Necromancer” is a concise, heavy and fierce Metal tune on a faster note. Dark, rowdy and in-your-face it also brings on a cold feel. There’s no bull here, just going for the throat, especially the verses. The chorus however is very melodic and it even brings on some Melodic Rock hooks. The contrasts really lifts the song – and no matter how Metal you want it, a catchy refrain is never a bad thing. Great stuff. “Riders On The Wind” borrows the bass-line from Black Sabbath’s “Heaven And Hell”, a guitar-line and a rhythm reminiscent of something Axel Rudi Pell could have released and there’s also a slice of Q5’s “Steel The Light” in there. It’s heavy, dark, slightly ominous with a distinct main melody and a memorable chorus without being the least radio-friendly. The influences might show really clearly but it’s never close to being the least radio-friendly. Brilliant!
Fast, rough and in-your-face, the stone-hard and concise “Calling Out For Midnight” feels like a natural show-opener – and maybe it should have opened the album as well. The main-riff is razor-sharp and the whole tune is an aggressive belter here to crush skulls. As a song, though, it’s only ok. Based on both acoustic and electric guitars, “Battle Cry” takes us into Heavy Metal ballad-land, slower in pace and laid-back yet still quite heavy and distinct. With big melodies and great harmonies the song sends out a softer approach – and at times I even get a slight vibe of a band like Foreigner. The hooky chorus is a beast and brings on a vocal-melody impossible to resist. This is great stuff, peeps. Make a video of this one and release it as a single.
“By The Horns” has so much Priest in it, it actually could have been an unreleased Priest-song. Menacing riffing, chugging guitars and a beefy, thunderous beat with a main-melody so strong it could move mountains says it’s a real winner. The hooks are everywhere too, both in verse and refrain and said refrain is bang-on-target and sticks by first listen. Durbin’s voice is mean and rolled in dirt which brings on a sleazy touch – a catchy yet punchy belter. Awesome. Closing track “Rise To Valhalla” is a fast and edgy metal-blaster, hard and gritty on a classic Metal note. It pays homage to Motörhead as much as Priest and there’s even a hint of Speed Metal involved here. It’s ballsy and heavy but I find the verses better than the slightly Power Metal ridden chorus. It’s a good song none the less.
Forget about Durbin’s Quiet Riot years – this is where James belong. In Metal. This is where his voice feels at home and where he can show what’s he’s made of. While the music here might not be groundbreaking by any means – the influences are very prominent – everything here is done with conviction and an honest passion for this genre. And most importantly, the songs are (mostly) damn good. It’s been a while since I’ve listened to a new Metal band that I really dug so thanks for this one. I wasn’t especially impressed by Durbin in Quiet Riot but I sure am with this one.
7/10
Tracklist:
1. The Prince Of Metal
2. Kings Before You
3. Into The Flames
4. The Sacred Mountain
5. The Beast Awakens
6. Evil Eye
7. Necromancer
8. Riders On The Wind
9. Calling Out For Midnight
10. Battle Cry
11. By The Horns
12. Rise To Valhalla
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