Review Summary: One of 2015's finer rock/metal releases, "Crooked Doors" will engage those who find the time to listen to it.
Back in 2012, Royal Thunder exploded onto the rock/metal scene with their excellent, unforgettable debut record
CVI. The debut struck great first impressions with both critics and new-coming fans alike, and the band's ongoing live performances since have only grown to be stellar and unforgettable. So why has it taken three years for the band to release an engaging follow-up release? Because Royal Thunder are a band who simply take their time-and that, essentially, is why 2015's
Crooked Doors (an album title reportedly conjured up as a sort of on-the-road joke by all four band members) is as strong and impressive as its predecessor.
It would be slightly insulting to say that Mlny Parsonz is the stand-out attraction of Royal Thunder. Yet upon first impressions, male or female, it's hard not to consider her as the leading force. And it's harder still when you consider the fact that her vocal delivery is really quite versatile and, well,
ballsy, for want of a better description. So, the begging question is, does Royal Thunder thoroughly depend on Mlny Parsonz's input? Yes, of course it does, but no more than that of the other three members of the band. For that reason alone, you can tell that
Crooked Doors was a really fun album to make, most of all for the band than anyone else. It's almost as if, most obviously on songs like the tense opener "Time Machine" or "Glow", Parsonz tried her best not to overdo the vocal work. As a result, everything seems fresh and alive, naturally performed as if in a live setting before a few thousand salivating fans hungering for more. That's the first impression one gets with every song: A sense that you know there's even better to come.
With all that said,
Crooked Doors can be hard for some people to get into-particularly those who are after rawer, heavier music. Those sort of music fans will find it hard to get hooked on the likes of the two-part closing opus "The Bear" and "Forgive Me, Karma" amongst others. Yet as a result, we're only reminded that this is the sort of album which can be pleasing to almost everyone. Fans of more straightforward rock/metal will find at least half of
Crooked Doors somewhat infectious, lovers of sludge metal will find passing resemblances in "Time Machine" and "The Line", and even those who like their bands to dabble in experimentation will undoubtedly find the closing two-part "The Bear" to be a progressively pleasant experience. Even "Ear on the Fool" gives a slight nod to the more elegant side of post-rock, but strangely enough, this never begins to tire the listener either. The rhythm section is thus the right drive to really engage and explode when it needs to, and then lie back and relax as Parsons' smoky vocal delivery haunts the recording.
Speaking of which, Parsonz's vocal delivery is one of the stand-out aspects of the album itself, contrary to what more critical folks may be thinking. Mostly, you get the sense that Mlny Parsonz is at home with what she does. She never seems nervous, agitated or even bored with herself, and that's just the thing which makes
Crooked Doors more exciting than it is. With the rhythm section, she can really hit the high notes whenever needed, as displayed confidently on "Forget You" and "One Day", but more importantly Parsonz never seems to overdo it either. Parsonz is also a bassist, but she is constantly surrounded by the ongoing support of her other three bandmates: Josh Weaver, Jesse Stuber and Evan Diprima. Sometimes, in order for a vocalist to truly achieve their ambitious musical goals, they have to be in their element, at peace with what is going on around them:
Crooked Doors is a true example of this. But does it ever take away from the instrumental performance? Sometimes, of course. Yet this is but inevitable when you consider Royal Thunder's second album as a whole. It is a team effort, not merely four band members playing their own respective instruments.
Whenever you think the album is going to get repetitive or stale, it doesn't, and that's basically the hard-hitting point. Royal Thunder aren't predictable, but nor are they alienating. Sure, a few songs may eventually outstay their welcome ("Time Machine", "Wake Up") with lengthy musical pieces, but it's merely testament to what the band can confidently do as a collective. For that reason,
Crooked Doors showcases proof of a band with ongoing musical ambition and consistency. It is the perfect follow-up to an already impressive debut effort, but more importantly, the work of a band currently fully confident with what they are doing.
