Bitrate:320K/s
Year:2026
Time:37:09
Size:85,6 MB
Label:Earache Records Ltd
Styles:Rock/Southern Rock
Art:Front
Year:2026
Time:37:09
Size:85,6 MB
Label:Earache Records Ltd
Styles:Rock/Southern Rock
Art:Front
Tracks Listing:
1. Shadows - 2:55
2. Eat You Alive - 2:46
3. Silverlight Blues - 3:56
4. Love Kicks - 2:06
5. Scars - 4:02
6. Mongrels - 4:11
7. Hometown Kings & Queens - 5:29
8. Always Been Love - 3:25
9. Saving Grace - 4:00
10. Let It All Out - 4:14
1. Shadows - 2:55
2. Eat You Alive - 2:46
3. Silverlight Blues - 3:56
4. Love Kicks - 2:06
5. Scars - 4:02
6. Mongrels - 4:11
7. Hometown Kings & Queens - 5:29
8. Always Been Love - 3:25
9. Saving Grace - 4:00
10. Let It All Out - 4:14
The concept of UK artists influenced by, and even trying to replicate, American bands is nothing new. However, Britain’s The Temperance Movement, take that a step further. The quintet combines their British rocking bluster with a distinctly Southern-styled approach.
That has been in effect since The Temperance Movement’s 2013s debut. But on ‘New Promise Land Incorporated,’ (released Oct. 9, Earache label), there is a more direct connection with a red-clay sensibility. Take a serving of Rolling Stones grit, add some Free and Humble Pie-styled rocking soul then take a cross-Atlantic trip to imbibe a dose of the Black Crowes and the Georgia Satellites for a potent combination sure to please fans on both sides of the ocean.
This worked well in the past, at least in the UK where they were headliners, until the outfit stepped away from active entity due in part to frontman/singer/songwriter Phil Campbell’s substance abuse issues. That hiatus lasted eight years (their previous batch of originals arrived in 2018), but ends in a big way with this new set from a revived Temperance Movement.
Despite the near decade-long break, there are no major changes in the band’s musical stance. These ten tracks– a mix of ballads and grinding, riffy blues rockers– could have been included in 2018s ‘A Deeper Cut,’ generally considered their finest recorded moment.
The word “swagger” is often used to describe The Temperance Movement, and that remains an appropriate depiction.
The opening “Shadows” kicks off with a propulsive rhythm guitar strum supporting a lead guitar lick setting the table for Campbell’s flinty, grisly yowl of a voice. His scratchy, throaty attack– somewhere between a revved-up, old-school Rod Stewart, AC/DC‘s Brian Johnson and of course the Black Crowes’ Chris Robinson– defines the sound. Echoed wordless backing adds a twist, one of many tweaks that puts this band on another level than just strutting, taut, rockers fronted by a cool singer.
The demonstrative “Eat You Alive” (“There ain’t no stopping us/If we got love in us, baby”) is just under three minutes of gutsy, thumping thunder, epitomizing how these guys strip away any fat weighing down their songs.
There’s a bluesy streak in the appropriately titled mid-tempo “Silverlight Blues” as Campbell cries “Feeling myself falling/Making myself whole again” with more than a pinch of Eddie Vedder’s bellow.
The album’s second half settles into a less, well, “swaggering” stance as Campbell leads his players into slightly calmer, but no less powerful waters. The floating, acoustic-based “Saving Grace” is one of their most sensitive, introspective tunes. It builds stylishly from a soft opening to a throatier, almost religious close enhanced by sympathetic organ flourishes and Campbell’s emotionally laced vocals. A similar creeping feeling urges “Mongrels” as Campbell shifts into Joe Cocker mode singing “We were mongrels all our days/I can’t change my ways,” with earnest honesty.
In “Hometown Kings and Queens” the singer rumbles through a ballad with the chorus of “I choose love again” telling the listener how he has decided to live his life going forward. “My choice was made,” he declares and we believe him. How could you not, when hearing Campbell tear into his heart as the tape runs?
It will come as little surprise that producer Ethan Johns (Kings of Leon) captured these performances live in the studio with few if any overdubs. The player’s natural cohesion bleeds through to the final product which exudes all the rawness and intensity that has made The Temperance Movement so vital in concert, they were chosen to open for the Stones.
Ever after an extended absence, this group shows no trepidation or insecurity with an album that picks up where they left off and is as compelling as anything in their catalog.
That has been in effect since The Temperance Movement’s 2013s debut. But on ‘New Promise Land Incorporated,’ (released Oct. 9, Earache label), there is a more direct connection with a red-clay sensibility. Take a serving of Rolling Stones grit, add some Free and Humble Pie-styled rocking soul then take a cross-Atlantic trip to imbibe a dose of the Black Crowes and the Georgia Satellites for a potent combination sure to please fans on both sides of the ocean.
This worked well in the past, at least in the UK where they were headliners, until the outfit stepped away from active entity due in part to frontman/singer/songwriter Phil Campbell’s substance abuse issues. That hiatus lasted eight years (their previous batch of originals arrived in 2018), but ends in a big way with this new set from a revived Temperance Movement.
Despite the near decade-long break, there are no major changes in the band’s musical stance. These ten tracks– a mix of ballads and grinding, riffy blues rockers– could have been included in 2018s ‘A Deeper Cut,’ generally considered their finest recorded moment.
The word “swagger” is often used to describe The Temperance Movement, and that remains an appropriate depiction.
The opening “Shadows” kicks off with a propulsive rhythm guitar strum supporting a lead guitar lick setting the table for Campbell’s flinty, grisly yowl of a voice. His scratchy, throaty attack– somewhere between a revved-up, old-school Rod Stewart, AC/DC‘s Brian Johnson and of course the Black Crowes’ Chris Robinson– defines the sound. Echoed wordless backing adds a twist, one of many tweaks that puts this band on another level than just strutting, taut, rockers fronted by a cool singer.
The demonstrative “Eat You Alive” (“There ain’t no stopping us/If we got love in us, baby”) is just under three minutes of gutsy, thumping thunder, epitomizing how these guys strip away any fat weighing down their songs.
There’s a bluesy streak in the appropriately titled mid-tempo “Silverlight Blues” as Campbell cries “Feeling myself falling/Making myself whole again” with more than a pinch of Eddie Vedder’s bellow.
The album’s second half settles into a less, well, “swaggering” stance as Campbell leads his players into slightly calmer, but no less powerful waters. The floating, acoustic-based “Saving Grace” is one of their most sensitive, introspective tunes. It builds stylishly from a soft opening to a throatier, almost religious close enhanced by sympathetic organ flourishes and Campbell’s emotionally laced vocals. A similar creeping feeling urges “Mongrels” as Campbell shifts into Joe Cocker mode singing “We were mongrels all our days/I can’t change my ways,” with earnest honesty.
In “Hometown Kings and Queens” the singer rumbles through a ballad with the chorus of “I choose love again” telling the listener how he has decided to live his life going forward. “My choice was made,” he declares and we believe him. How could you not, when hearing Campbell tear into his heart as the tape runs?
It will come as little surprise that producer Ethan Johns (Kings of Leon) captured these performances live in the studio with few if any overdubs. The player’s natural cohesion bleeds through to the final product which exudes all the rawness and intensity that has made The Temperance Movement so vital in concert, they were chosen to open for the Stones.
Ever after an extended absence, this group shows no trepidation or insecurity with an album that picks up where they left off and is as compelling as anything in their catalog.
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