ROYAL BLOOD

Ten years ago this month The White Stripes unleashed their fourth album, Elephant. The mega-selling follow-up to their break-out hit White Blood Cells, it established the lo-fi rockers as one of the noughties’ most influential bands and inspired a wave of copyists to ditch sparkly production in favour of gritty, upfront blues-rock.

A decade on and The White Stripes influence can still be felt. In Brighton, hard-rocking duo Royal Blood have embraced Jack and Meg’s blueprint whole-heartedly with their fuzz-heavy odes to the blues pioneers of the thirties. Recent track “Figure It Out” is Robert Johnson re-imagined for the Facebook generation. An explosively heavy Zeppelin-esque stomper, it’s at the crossroads between the proto-metal of AC/DC and Black Sabbath and the electronic space-rock of Death From Above 1979.

Blurring the lines between the south coast of England and the Mississippi delta, Royal Blood are nothing short of incandescent. Their Soundcloud page hosts one song, but it’s enough. As exciting as Jack White’s era-defining “Seven Nation Army”, “Figure It Out” is contemporary rock ‘n’ roll at its most thrilling. It won’t be long before Royal Blood have their hands on The Black Keys‘ crown.

Words by Toby Rogers

Tipped by Ach Dhillon from Killing Moon

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  1. […] First published at The Tipping Point […]

  2. […] First tipped by us back in April, the Royal Blood hype really kicked off in November with the release of their debut single Out of The Black. With Michael Kerr on bass and vocals and Ben Thatcher on drums, comparisons to The White Stripes have been inevitable and wholly deserved. Embracing Jack and Meg’s successful formula to great effect, Royal Blood’s gritty blues-infused sound is more Deep South of America than Southern coast of England. It never ceases to amaze how just two people can make such a wonderful racket – just look no further than the pummelling drums which open ‘Out of The Black’, before the track thunders into a White Stripes-esque angular stomp, complete with Jack White style sleazy snarling vocals in the chorus. B-Side Come On Over is equally as impressive, drawing comparisons to early Muse, The Black Keys and even rock Gods Led Zeppelin and sizzling with the same scuzzy desert swagger employed by The Arctic Monkeys of late. […]



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