|Grumpynators – ‘City Of Sin’ (Mighty Music)|
|Written by Mark Ashby|
|Monday, 17 April 2017 04:00|
The wonderfully named Grumpynators come storming out of the gates at a fast and furious pace with the thumping pound ‘n’ ground of ‘Tears Of Whiskey’ (nice to see that they appreciate the proper stuff and not that Scottish tosh), which immediately sets down a strong marker with its Motörhead-meets-Volbeat vibe. Indeed, the latter is an extremely apt comparison, as Rob Caggiano pops up slightly later on ‘Far Away’… but we’ll come to that anon.
Grumpynators are the latest in a string of Danish bands who have been enjoying the rock and metal spotlight being cast on their little archipelago in recent years. This second album consolidates their position as prime contenders for one of the bands to break out and prove what a fertile breeding ground the country is for quality rock ‘n’ roll bands… even if they perhaps could be accused of riding a little too tightly on the coat tails of certain fellow Danes already mentioned.
Yes, ‘Hotel 2nd Age’ and ‘Take The Last Dance With Me’ have Volbeat written all over them, from the crunching dual guitars through the massive choruses to Emil Oelund’s snarling vocal style. They even have that country rockabilly tinge in the fact that Jakob Oelund uses a double bass. And, yes, they do struggle to find their own identity – and the songs all do start to sound the same after a wee while. I mean, the first four all rattle along at more or less a similar pace, with little variation in tempo – OK, ‘Then We Cried’ does ease back on the pedal ever so slightly, and its rollicking drum line adds a refreshing new dimension – with the effect that they start to meld one into the other.
Having said that, these guys do know how to lay down a riff or three, and this is evinced no more obviously on what is the album’s stand-out track, the cheeky ‘Pretty Little Devil’, which is suitably lascivious and lecherous, to the extent that you can virtually see the drool dripping from Oelund’s lower lip as he leers his way toward the object of his desire, declaring his undying love before finally admitting “what you don’t know is this, it’s all a game to me”.
‘Far Away’ notches things up a level in terms of pace, before easing back on the throttle and then dumping a shitload of double bass beats on the top of cranium. And Caggiano’s contribution really adds a depth and breadth to what could otherwise have been a pretty standard hard rocker. ‘Now I Know’ keeps the momentum going, hurtling along at breakneck speed, before ‘Fame’ slows things right down (well, as slow as they get) with its sultry snarl and dirty grunt.
‘St Elvis Day’ is another contender for best track on the album – a riotous blast of furious punk ‘n’ brawl brim full of energy, which blends naturally into the title track, which itself is another blast of Motörhead-esque speedball madness coupled with an insanely catchy chorus. ‘We Are The Outcasts’ is suitably rebellious in its punky pugnaciousness, while ‘Werewolf’ closes the album off in a nicely stomp-along manner, while simultaneously reflecting the dark themes of many of the preceding songs.
‘City Of Sin’ is an album born in and made for back street bars, the soundtrack for a night on the tiles then staggering home sometime the next morning and then wondering how the fuck you got into the state you’re in and who exactly that lipstick stain on your collar belongs to. There is nothing clean or wholesome about it. It oozes debauchery and demands to be treated as such. What time’s the next flight?
‘City Of Sin’ is out now. You can get your copy HERE.
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