“Their set is nearly as good as the headwear sported by singer John Hartwell and guitarist Arran Day,” I’d said. I’d continued: “They’ve got a new record due, and if this is anything to go by, it is going to be a stunner.”
I wrote that on 8th March. I’d seen These Wicked Rivers (that’s who “they” in this case were) in the middle of a three band bill supporting Massive Wagons in a little venue just by Wolves Football Ground.
The show was fabulous, the sort that you realise how good it was afterwards, especially now, when you’d kill to watch a busker, but more pertinent at this very second is that what we have here is the album that I thought might be a “stunner” (looking back that word hasn’t been used since the 1980s in the worst kind of tabloid crap, but whatever). And “Eden” is. It really is, it’s as good you hoped.
For a record that is all about its riffs. – Hartwell, and particular lead man Day do a wonderful job throughout – starts in curiously understated fashion, “Tea Leaves”, a kind of front porch blues thing, but the huge “Shine On” is the one. The intro alone confirms what you imagined. This is a special band.
Comparisons with Black Stone Cherry have been forthcoming, and you can see why, this is after all swaggering southern tinged rock that has hopes and dreams of following the Wagons lads into arenas, but I am not sure it tells the story.
“Hit The Ground” is one of those songs that cliched old hacks like me like to refer to as “whiskey soaked” like anyone would know what it means (I don’t drink, ain’t got a clue) but listen closer to what’s going on. For all the “well, heaven raised me a sinner, but hell got me on the run” of the lyrics, the guitars are more Orange Goblin and Clutch.
There are many highlights here, “Floyd” is amongst them. Huge sounding, but with a tender side, the sort of thing that should sound a clarion call everywhere, but it’s the energy of “Evergreen” which seems pivotal. It did back at that live gig too, and there’s a moment where the solo kicks in and it’s as pure an enjoyment as can be.
I always say I prefer lyrics over music, but the contrary point about that is when I am asked for the single greatest moment in rock history I always say the intro to “Paradise City”, that bit after the first chorus where Slash’s guitar kicks in. TWR are the same. There is something of the clarity of the sound here that makes this special. “Money” has a bit of sleaze about it, too. Like they are living out their rock fantasies as Sam Williams’ bass rumbles and Dan Southall belts his kit.
“This Train” is a change of pace. Six and a half minutes of slow building blues, with a hook that soars, and the length of the songs is interesting too. Almost an hour passes in the course of the 12, which is longer than many do it, and yet it doesn’t meander. Ever. Rather, “Count To Ten” rockets along, and “Ceasefire” takes its time, when you know its building an attack on its own terms, likewise “The Garden” doesn’t even bother to hide its lust.
The hook of “Won’t Be Broken” – “she ain’t going to destroy my world” – and the last one “World In Chains” are the angriest this gets, really. “We’re stuck here at the end now, while they are playing who’s to blame” spits Hartwell, and there are just suggestions here that this record is merely the start.
By that I mean that there are some great hard rock bands around at the moment. In that respect These Wicked Rivers are another, but there’s something about this four piece that suggests something new. An ambition, maybe. The sheer scope of this is a statement of intent. Welcome to “Eden”. It’s well worth a visit.
Rating 9/10
