Occasionally, I have the pleasure of discovering a band that has a style so clearly defined that I mistake them coming from a place where that sound is most prominent, when they're on the other side of the world. This is the case for DOOMSDAY OUTLAW, which sound like a band straight outta the USA with bluesy riffs, heavy beats, and an added touch of Groove Metal. I mistook them coming from my own backyard, though they hail from Derbyshire, England- someplace where I wouldn't quite expect this kind of style to flourish. But let's not forget that a fascination with American Blues has always been part of the UK, even with mighty bands such as LED ZEPPELING and BLACK SABBATH, who were once Blues groups. DOOMSDAY OUTLAW list some of their influences as CLUTCH, THE ALLMAN BROTHERS, and SCREAMING TREES, taking traits from said bands and many other Country, Blues Rock, and even Metal acts.

"Suffer More" is DOOMSDAY OUTLAW's 2^nd album after "Black River", which we held in high regard here on Metal Temple last year. It comes as no surprise that we were highly anticipating their next release, and we weren't disappointed. "Suffer More" is a collection of sensational Blues licks that come fresh off the southern grill made out of Cletus' old Ford flatbed and doused in his homemade barbecue sauce he simply named "freedom juice". This 68-minute opus is a journey of countryside styles with a refreshing touch of originality and creative songwriting.

"Walk on Water" is the opening track, making use of a subtle flanger in a riff that sounds reminiscent of Ted Nugent's "Stranglehold". The bass (which has been simply labeled as produced by "Indy") is low, wide, and always a present, solid foundation for guitarists Stephen Michael Broughton and Gavin Mills to stand upon and make a loud, proud, southern-bound statement. Phil Poole's vocal range is more than adequate- it's practiced talent with high hits, powerful lows, and rattling vibrato. John Ironfoot Willis' technical use of the whole kit is great addition to the band's sound; avoiding the danger of being a bit too simple like a lot of old Rock n' Roll acts. The mixing is well-balanced and delivers a great larger-than-life feeling (even more impressive knowing they're independent). My only complaint is that the drums sound a bit too echo-y, but not in an apparent manner; certainly not enough to keep me away from this giant sound that DOOMSDAY OUTLAW has crafted.

The title track is a kind of power ballad unlike everything else in the album. However, it doesn't fall in suit with a ballad's tendency of sounding too cheesy, melodramatic, and forcefully emotional. Rather, there's a performed spirit that delivers the feeling of a painful victory like reaching the top of a mountain's peak and having broken a leg along the way- success without strife. The slower, higher-ranged singing supplemented by a low guitar grind is what's on paper, but the soul that's implemented is everything that makes this song what it is. In all realness, I think DOOMSDAY OUTLAW has set the standard on how a power ballad should be performed.

But soon enough, kicking us out of the somber feeling comes "Pandemonium", a 52-second, obvious tribute to PANTERA with the machine-gun bass drum opening and a drowning, fuzzy riff that would make any cowboy from hell proud. I only wished that this song lasted a bit longer, as I then craved riding across the American Heartland on a Harley and chain-smoking with this ditty on loop at full-blast.

Right after, however, is my favorite song off the album: "I've Been Found", which has a slightly gospel opening and a sudden reveal of their electric organ. The warbling tone of the organ comes as an astoundingly pleasant surprise, as it's that extra touch added to make the tune all that much better- not to mention the solo midway is full of fire, followed by one of the better guitar solos of "Suffer More". Shortly after, they reveal yet another less-conventional instrument in the mix with a banjo solo on "Phantom Limb Blues" along with traditional Blues vocalization, swinging low and full of heart. It's at this point that DOOMSDAY OUTLAW's experimental ventures became more apparent.

The album moves back and forth between hard grooves and sweet, soft tones in flawless transition. For example, directly from country-rock "Saltwater", we hit the calming acoustic intro to "Standing Tall", not unlike a Tom Petty tune, but not a copy either. The vocalist's transition between styles leaves me more and more impressed as I continue to listen.

And finally, we conclude with "Tale of a Broken Man" as the gentle intro rolls into a heavier, more boisterous guitar, morphing into one of the album's thicker songs- a great exit from this highway of soul.

"Suffer More" is an experience wrought with Blues, Country, Rock, and Metal elements, featuring a buffet of sounds, styles, and instruments across the board from all band members. For someone who revels in this kind of music across the pond, I'll be waiting in earnest for these jolly Englanders to make their debut in a land that'll most certainly welcome them with open arms.

/10
/10
/10
/10<