This is an album that has a HUGE amount of hype and buzz around it. South of Salem exploded onto the scene in 2020 with their debut, and have been on a rather unstoppable rise ever since. Playing shows up and down the country and creeping up some huge festival bills, the sky is already within grasp for them, at this point. So, when this album was announced, there was already a buzz. Then, as we started getting the singles, it has since reached a boiling point. Well, it is here, ladies and gents, and let’s dive right into it!
Opening on recent single ‘Vultures’, the album gets right to work, not waiting around a second as it explodes in with a huge riff. Dropping back a bit for the verse is a cool touch. Joey’s vocals sound just as good as ever. And the band immediately settle into their darker, gothic rock sound. Think a lovechild of Falling Red and Marylin Manson. However, there were also hints of black metal in some of the guitaring, which was a lot of fun. It all builds to a huge, arena-filling chorus, catchy and huge. The synths in the bridge give everything a really great Halloween feel to it, only adding to the atmosphere. We also get a phenomenal duelling guitar solo, so very Avenged Sevenfold in the best ways. This is one hell of a way to open an album; it’s a great track!
Next up is a track that I’ve already heaped huge amounts of praise onto; ‘Static’. I did a reaction video to it (find it below) and honestly couldn’t get enough of the track. From the riffing to the lyrics to that incredible chorus, it’s honestly a perfect radio-hard-rock track. I honestly don’t have much to say about the track that I haven’t already, without gushing even more over it like a fangirl. It’s as good as anything off their last album, and I’d recommend it to anyone!
‘Jet Black Eyes’ opens into a great stomping, sleazy riff. The pace and feel continues through the verse, again building to a huge pre and chorus. It’s all so catchy, and it’s a real testament to the sheer talent of the band’s songwriting skill. It’s incredibly rare for a band to knock it out of the park this often and accurately on almost every track they write. Their choruses are second to none currently. The bridge again gives off some A7X self-titled or Nightmare album vibes, especially with the vocal melody. It fits the tone of the track and band perfectly, and is fucking awesome. And of course we get another excellent guitar solo. It’s another fantastic track and one that easily makes our playlist!
The first truly new track on the album, ‘Stitch the Wound’, is just as good as the singles. The verse is arguably just as catchy as the chorus thanks to the synth/guitar following the descending final lines. Having said that, it’s still a damn catchy chorus, too. It almost gives off Bullet for my Valentine vibes with some of the vocal delivery, too. That is certainly not a bad thing, either! I love that the band can somehow wear their inspirations on their sleeves, while somehow at the same time managing to sound wholly unique.
‘Left for Dead’ is another one that I checked out in the reaction video above. It’s another amazing track and one that I have listened to a lot since its release. It’s a great, straight-up quick rock song, and made for the perfect lead single. And it has the typically-now great South of Salem chorus! Meanwhile follow-up ‘Hellbound Heart’ takes a more synth-heavy approach. It almost reminded me of Linkin Park or BMTH’s Sempiternal album at times, but obviously mashed together with South of Salem’s style. The slower, almost ballad-like dynamic and pace was nice, changing things up after a few similar tracks. And still, it builds to a huge, more distorted chorus, which was amazing. It’s a great change and a phenomenal track in its own right!
The next couple of tracks, ‘Bad Habits’ and the title one, are more awesome, sleazy hard rock tracks. Both are a lot of fun, but do feel just a tad like more album-tracks than the others so far. Plus, long-time readers here at Overtone will know my less-than-savoury feelings towards the growing trend of children’s choruses in rock and metal tracks. It’s not quite as egregious in the title track as some I’ve heard, and does fit the tone well, but I still don’t get the appeal.
The final two tracks, ‘A Life Worth Dying For’ and ‘Villain’ are also more of the same. However, I found myself loving both of them, the former even also making the playlist. Both have some of the best riffing on the album and the typically awesome choruses. Everything just works perfectly together in both tracks. They sound like they build so well off the foundations from their debut album, adding so much nuance and awesomeness. And, on top of that, the latter is a rather perfect closer for the album.
Overall: This was just as amazing as expected. It’s an album packed full of awesome tracks, huge melodies and great riffs. There isn’t a bad track on the album and everyone in the band play their parts to perfection. And, while I’ve not mentioned it before, the production on the album is really top notch, shoutout to whoever did it. It’s a worthy follow-up to The Sinner Takes it All, and I think I need a bit more time with this album to see which I prefer, as it is really close. I’ve been saying for the last couple of years now that the band are going to go far, but this album really proves that they very well may be the next big thing in UK rock.
The Score: 9/10