Formed in 2006, WILDSTREET released their self-titled first album in 2009, following it up two years later with "Wildstreet II...Faster...Louder!" "III" was recorded in 2018, with singles from it dropping primarily in 2020 and 2021. WILDSTREET is most definitely a working band; evidencing an extensive history of playing live and touring, both in the United States and Europe. Based out of New York City, WILDSTREET has played festivals such as Rocklahoma (on more than a handful of occasions), SXSW, and M3, while also making tour stops at many notable venues, including the Gramercy Theatre, The Bowery Ballroom, The Knitting Factory, Saint Vitus Bar, Whiskey a Go Go, and Great American Music Hall. Truly a band that's "been there, done and seen that."

The mantra, "Push it to the edge, set it off, set it off," is proclaimed in the chorus of "Set It Off," the third song on "III" (scheduled for release on June 25, 2021 by Golden Robot Records). And a fitting proclamation it is, as that's what WILDSTREET does on "III;" set off a full metal assault that is at times glam and sleazy, while at others darker and more methodically heavy. Regardless of the mood or tone the band is trying to set, they do it well; typically in a melodic, hook heavy manner that abounds with riffage.

Eric Jayk's voice is not your classically beautiful, musical instrument. Rather, Jayk's voice has a bit of a bite, a bit of a whine around the edges (often putting me in mind of KIX's Steve Whiteman, only not as high pitched, or Taime Downes of FASTER PUSSYCAT). This is in no way to say it isn't pleasing, as I enjoyed listening to him throughout the album. It is truly a case of the vocalist fitting the attitude that the band is trying to convey and the music that they play.

Jonny D and Lock Driver are one hell of a rhythm section and WILDSTREET take full advantage of their talents. Rather than simply relegated to a backing role, the duo are often center stage, with large parts of some songs given over to them in almost totality (for example "Tennessee Cocaine" and "Three Way Ride"). It's not every band that has the confidence to let the bass and drums act in any more than a support role, but WILDSTREET does and their music is all the better for it.

In my notes regarding "III," I describe guitarists Jimmy Marlowe and Dom as "wizards." I'll stick with that description. Throughout "III" both meld their playing with the rhythm section to produce some full, catchy lines. They also lay down solos that are first-rate in their technicality, while at the same time being melodic. Their highly cohesive tandem playing during "Raise Hell" was just one of the many six string moments that stood out.

WILDSTREET play down and dirty, hook heavy, glam-influenced rock and roll on four of the album's eight tracks. The opening trio, "Tennessee Cocaine," 'Three Way Ride," and "Set It Off," as well as the eighth track, "Raise Hell," reek of sleazy attitude. Of these, "Set It Off" was a particular favorite, highlighted by its whispery, breathy vocal interludes that contrasted so smartly with the number's fuzzy guitar density. Clocking in at just under three minutes, "Raise Hell," another personal favorite, has a big bold sound that evokes the best of pop-metal and seems to capture the band's attitude in its chorus: "No matter what you do, no matter what you say, every fuckin' day we're gonna raise hell."

The band veers from its glam sensibilities on "Midnight Children," "Born To Be," and "Mother." These tracks have a serious tonality; darker and more foreboding. "Midnight Children" has a NWOBHM/power-metal feel, with a sinister guitar solo that seemingly incorporates elements of speed metal. "Born To Be" demonstrates a more methodic, traditional metal vibe. Perhaps the heaviest track on the album, "Mother" is, at times, dirge-like, conveying a sense of SABBATH.

"Still Love You," the fifth track, is the album's power ballad. Though a throwback, it has a poppy, fresh air to it. The group demonstrates good vocal harmonies, as it does throughout all of "III," and for some reason their singing here had a tinge of the 1950s during the chorus (there was something I heard, though I'm unable to put my finger on it). "Still Love You" featured two guitar interludes, one echoey and spare, the other classic pop-metal (albeit more technical than typically heard on the stereotypical power ballad).

My time spent listening to "III" was fun and went by way to fast. I was frequently left wondering "Why isn't WILDSTREET better known?" But then I remember, they are, unfortunately, making music in an area where most people default to the old standbys instead of exploring newer acts that are working hard to bring a fresh take to what has come before (and that's a damn shame). Though they demonstrate versatility, able to play two different types of metal, I much prefer the glam, sleazy side of WILDSTREET as opposed to the darker, more brooding. That being noted, "III" is a sweet collection of tunes by a band that a wider audience needs to hear.