Royal Blood
Typhoons

Available from April 30, 2021, “Typhoons” is the third studio effort from the British power-duo Royal Blood. I say effort because I am fully aware of how much work and the employment of professionals (and I emphasize, professionals) was necessary to perfect the work, and this would be evident even to a slightly distracted first-time listener, as the quality of the production emerges in a crystal-clear manner from the outset. But I will get straight to the point, without too much fuss and beating around the bush, so that it's immediately clear the direction I intend to take: the album didn't reach me, quite the opposite.

And it’s a real shame because the skeleton of the work has been skillfully constructed and works quite well, it is not trivial at all. Mike Kerr's hyper-distorted and granite-like bass, a hallmark of the group, is very interesting, and the same goes for the sound carpet of synths created around it. From this point of view, there is a clear change of direction compared to the previous two albums, more direct and essential, which can be seen, if you will, as an evolution. Just listen to the instrumental coda of “Million and One” to verify what has just been said. So why is my rating so low?

Let me explain. The fundamental reason is that everything I haven't listed among the positive aspects of the work is decidedly questionable. The main problem of every, literally every, track is, alas, the combo of lead vocals and backing vocals, which I find really out of place and, to say the least, irritating. The most glaring example that comes to mind is “Mad Visions”, by far the most repetitive and ill-conceived piece, also because in this case, the perceived annoyance is not fully compensated by the atmosphere created around the piece. Even the singles “Limbo”, “Trouble’s Coming”, and the title track “Typhoons”, despite featuring a danceable rhythm, a solid riff, and notable catchiness (so notable as to confer too much of a “pop” note), do not convince one hundred percent, especially regarding the vocal section, in my view not suitable for the context, too clean and entirely devoid of tension.

Furthermore, the work is really repetitive, even though the premises to complete a varied job were widely present. Not coincidentally, with the exception of the piano-voice ballad “All We Have Is Now” (not very noteworthy, but where Kerr's vocal timbre nonetheless finds a better frame), the track I prefer from the album is the one where the duo moves furthest from the concept of the album, namely “Boilermaker”, with more decisive sounds and closer to the Royal Blood of “Figure It Out”, to be clear. “Oblivion” is also passable, where the “alternative-dance” formula, though recurring, works and provides fun.

Overall, “Typhoons”, with a little imagination, as far as I’m concerned, could have been easily conceived as a result of a union between Dan Reynolds of Imagine Dragons and some uninspired Tigercubs, and that's not a compliment, as Imagine Dragons have frankly worn thin. If I were to add another touch of honesty to conclude, the final score would also be two and a half out of five, but it is rounded down to two because I don't feel right giving a passing grade to excellent premises without substance.