Since forming in 2021, Brighton band The Rattlebacks have worked incredibly hard to mark their place within the rock underground. Their debut EP ‘Kink’ shared a sound that mixed classic hard rock riffs with a pinch of melodic metal and grunginess to create something very broad but appealing. The release gained enthusiastic press from a few independent outlets, but as good as it was, it left the feeling that, in time, the band would unleash something much stronger.

‘Sidewinder’ is that record. It takes the band’s previous sounds and not only builds upon them, but tightens them considerably, delivering an eleven song blast that combines a classic rock feel with a contemporary edge.

‘The Taste’ opens the album with a broad riff where guitarists Max and Coxy launch into something with a mid tempo but a huge, dirty sound. Once this falls away to reveal a hefty bass, there’s every indication that The Rattlebacks are capable of delivering a genuinely weighty noise. Frontman Josh Clarke shares a moody vocal that seemingly doesn’t have much interest in attacking the listener directly, but his tones are a great fit for the slow burning number, which at a few points, gives off a slightly Creed-like vibe. This grungier aesthetic very much explores The Rattlebacks’ collective interest in darker sounds, creating a number that takes a fair while to get going. Despite a good sound, however, it isn’t really until a sharp edged lead guitar steps forth for a solo that anything massively interesting happens. After that, things seem to fall into place, and the return of a harmony filled chorus sounds so much better than it did on its first outing. Interestingly, this is one of those tracks where a general mood takes precedence over a memorable song, meaning that it’s not a great choice for making a first impression. Maybe this is deliberate; maybe the band aimed to break their listeners in gently. It might even be a case of the track disrupting the flow of the record if sequenced elsewhere. In any case, it’s ‘Sidewinder’s weakest link…but with that out of the way, it’s onward – and with a massive amount of gusto – for a whole world of much punchier tunes.

Clinging onto the grungier influences but delivering a much bigger crunch, ‘Swing’ takes cues from Alice In Chains – specifically tunes like ‘Sludge Factory’ – both musically and vocally. The sheer weight of the guitar tones is impressive, and a meaty bass supplied by Jack Hollamby provides just as much volume. On drums, Seth Markes hammers his way through a heavy groove, and with a loud snare piercing through an occasionally muddy sound, he really makes his presence felt. The track is already impressive before taking any lyrics or vocals into consideration, but offering a much broader performance, Clarke curls his voice around each syllable here, unleashing his inner Layne Staley, sounding genuinely impressive as he attacks a chorus where the voice rises from the swamp to deliver something with a little more of a solid hard rock quality. Shifting a little further away from the grunge and towards a punchy hard rock sound, the busy ‘Lady In Wait’ tempers a hard edged guitar tone with a smidgeon of funk rock, allowing the rhythm section to attack with a busier approach, and a world of harmony vocals brings more of a melodic edge to The Rattlebacks’ sound. Some listeners will hear elements of the Mind Funk debut lurking – this definitely has the thrust of tunes like ‘Ride & Drive’ – but Clarke’s clean vocals give the track more of its own identity. For those who still love hard rock albums from that short period between the end of 1990 and the beginning of 1992 where big haired bands really began to toughen up, this will be an instant favourite.

An album standout,‘Over The Edge’ takes huge cues from a classic hard rock sound and mixes more old school rock with vaguely grungy overtones. Although sounding familiar from the off, this showcases the band in blistering form as they work their way through a world of heavy, mid tempo riffs. The general groove here pays homage to the early sounds of Black Stone Cherry, but The Rattlebacks add a little of their own flair thanks to a much tougher stance, and also by being unafraid to share a very old school lead break en route. In many ways, the track is dominated by Coxy and Max once again – both serving the arrangement with some absolutely massive sounds – but Josh can be heard putting in some hard yards throughout, as he shares a classic vocal tone and a performance that never shies away from huge notes. Factor in a high octane lead break that captures the energies of peak Guns N’ Roses and ‘Slave To The Grind’ era Skid Row, and the track has a no-nonsense feel that’ll appeal to fans of hard rock and melodic metal everywhere. Not only is ‘Over The Edge’ a vast improvement on 2023’s ‘Rattleback’, but it also puts the band among the strongest players in the current scene at the time of this album’s release. Taking another very chunky stance, ‘Waste’ sets a groove in place that recalls a lot of melodic metal from the early nineties, but thanks to a great sound, a great production job and another strong vocal, the familiar feel works, and the track still conveys a great punch. Although Josh often sells himself as one of the band’s strongest features, the memorable elements here come from a rather punchy drum part, and – latterly – the guitar riffs trading in the melodic metal for an even heavier backdrop whilst Max adds a fretboard melter of a solo. Despite being released as a digital single just ahead of the album, this isn’t necessarily The Rattlebacks’ most immediate four minutes, but there are moments here that capture the intensity of ‘Over The Edge’, suggesting this still young band are loaded with potential.

With a choppy guitar riff and a semi-sleazy edge, ‘Gods’ also latches onto an early 90s hard rock crunch, but by casting aside a swagger for an unashamed sneer, the track comes with a very different feel. It’s a massive thrill to hear Coxy dropping massive howling lead guitar breaks against a dirty rhythm, and although the vibes are definitely retro, the band’s energy brings a fresh spirit to a classic sound. Trading in the full throttle riffs for a sedate tone, the album’s ballad ‘Behind You’ unveils a very different side to The Rattlebacks with Josh sharing a soulful vocal, and Coxy offering some great blues guitar for the first solo. Augmented by string sounds, some warm bass and a desire never to rush anywhere, this is the ultimate slow burner; a chance for the listener to reflect, and to hear each of the band’s ingredients in a more relaxed way. The way Clarke pitches a great vocal against a slow melody seems as if it’ll be the main focus here, but at the mid point, everything changes gear to allow Coxy space for a more metallic lead break, before cranking the gears a final time to allow the band to share a full throttle riff. Although there are many of The Rattlebacks’ key elements within this musical stew, it’s hard not to cast your mind back to the overblown (and often brilliant) epics from Guns N’ Roses’ ‘Use Your Illusion’ albums that were almost certainly an influence. This track has just as much grandness, if only a fraction of the budget. In terms of showing off most of the band’s musical skills within a seven minute journey – and it very much feels more like a journey than a stand alone track – it’s the perfect showcase for everyone.

Although ‘Please Me’ retains a lot of the UK band’s old school hard rock values, it has a different core sound, but it’s certainly one that really works for the band. You’ll still find an absolutely ripping lead guitar cutting through a melodic metal riff, but there’s far less of a Skid Row or Guns N’ Roses overtone here. There’s not even quite as much of an obvious Black Stone Cherry vibe. On this number, the main riff feels a little darker, but conveys far more of a groove than ‘The Taste’, but to contrast the dirtier sound, the band have stoked up the harmony vocals. The verse is driven by a wall of voices that carry a hint of latter day Alice In Chains ensuring this has a great sound, but it’s when hitting the chorus that the number really comes into its own. Clarke hits a full scale wail, and he’s eventually challenged by the lead guitar, with Max filling several bars with an absolute ripper of a solo sharing more semi-bluesy tones that really accentuate the band’s classic rock side. If you’ve had any interest in The Rattlebacks’ earlier work, this will convince you that your faith in the band hasn’t been misplaced, but is also very much the kind of song that’ll win them new fans.

Another early career highlight for the band, ‘Dementia Lounge’ flaunts an opening bass riff that brings a deep rumble that’s reminiscent of a couple of older Guns N’ Roses and Love/Hate tracks, but once the guitars crank up the volume, The Rattlebacks really come into their own. The opening riff taps into more of the old school crunch they’ve previously shared, but as things gain momentum, this track grows into something much bigger. Its verse mixes a classic metal sound with a post-grunge darkness which shows Max and Coxy in great shape as they show an easy knack for blending guitar tones and styles. There’s also a Tremonti and Alter Bridge influence flowing through some of the heavier moments, whilst a howling lead pierces through, keeping a strong link with The Rattlebacks’ love of a more “classic” sound. The vocals, when tapping into a slightly gravelly style, add just as much power; Josh shows an impressive range throughout, but it’s when powering through a slightly moody chorus that his sense of grittiness and volume really comes alive. By the mid point, there’s every indication that ‘Dementia Lounge’ is a track with an impressive amount of heft, but after increasing the tempo for a huge and crashy climax, the band’s rhythm section becomes an absolute powerhouse, capable of driving a seemingly unstoppable juggernaut of sound. This allows the guitars to launch into a much faster riff that brings things full circle with the kind of speed driven chops that introduced the track. There’s so much packed into these three minutes, but everything flows very naturally. Nothing feels rushed, and nothing ever appears forced, despite the end result clearly having a great force of its own. Upon its single release in September 2024, it showed all the signs of being the album’s standout track. It’s eclipsed by ‘Behind You’ in many ways, but to make any direct comparisons seems unfair, considering how different they are, musically speaking.

With this record, The Rattlebacks give classic rock and melodic metal a necessary kick up the arse. In a scene populated by a lot of bands who value riffs over songwriting, these lads often manage to put equal focus on both, without their songs ever dropping into anything too introspective. In terms of creating a balance between melody and natural heft, the bulk of this material is spot on, ensuring The Rattlebacks debut can be placed alongside Stone Broken and The Black Vultures when it comes to flying the flag for British rock.

October/November 2024