Much of this album is on the slightly faster-paced end of the spectrum, with the opening track Worlds Apart exemplifying this. McCrystal's opening riff would have sat perfectly on one of the band's classic 1980s releases, and it persists through most of the song - driving the uptempo verses, only laying off for the choruses. The song in general is quite old-school sounding, and it is clear to see from the track how Tygers of Pan Tang went on to influence the thrash scene. The NWOBHM certainly had a certain aggression that did not exist in 1970s classic rock and early metal. Those razor-edges found in the genre are present here, and it is only the modern production that stops the track sounding like a long-lost Tygers anthem. Weir mostly sticks to the rhythm guitars throughout, with McCrystal taking on the lion's share of the solos. His solo here is a shredded effort that is packed full of flashy runs - something that occurs often throughout the album. Destiny opens with the sound of a car revving and a distant rendition of the song's chorus, before the song explodes into a fuller version of the chorus. A mid-paced, crunching verse soon takes over, with Weir and McCrystal teaming up for the powerful rhythms while Gray's bass booms out of the speakers. If the album's opening number showcased the band's faster-paced style, then Destiny showcases a more anthemic and stadium-worthy side. Many forget that Def Leppard started out as part of the NWOBHM movement, and this is a track that could have appeared on one of their early releases. Tygers of Pan Tang have always had a knack for a strong melody, and this song showcases this talent with a strong chorus and an anthemic strut throughout. Rescue Me slows the pace down a little more, introducing a strong, heavy groove from the off with what sounds like a bit of talkbox in the background to bulk the song out. Tygers of Pan Tang are a melodic band but sometimes, especially recently, the band like to showcase their tougher side. They had heavy moments in the 1980s, but this side of the band has certainly been expanded upon in recent years - with Ellis' hard-hitting drumming certainly helping the band to explore heavier waters. This is one of Weir's contributions to the album, and it is his big riff that drives everything. With Gray also receiving a co-write, it is clear that the big grooves found throughout the track are down to him - with his bass really bulking out the muscular tune before McCrystal launches into a more controlled solo. Raise Some Hell ups the pace again, and takes the listener back to the album's opening moments with a razor sharp riff and some shredded leads impressing before Meille takes over for the verses. It is a song that never lets up energy-wise throughout, with gang vocals driving the simple chorus and Ellis constantly laying into his kit. It is the only song on the album that see both guitarists solo, with McCrystal taking the shredded first effort, before Weir launches into a more retro-sounding solo with big bends and more of a heavy blues overtone. The two styles work well together, and showcases what both guitarists bring to the band.
Spoils of War opens out in a much more atmospheric way with some dense keyboards before a 1987-era Whitesnake-esque riff kicks in. This feeling is short lived however, as the song soon morphs into a mid-paced chug with simple power chord rhythms from the band's guitarists while Meille croons atop them. He is probably the most diverse singer that the band has ever had. While the two singers the band had throughout the 1980s were great, and perfect for the band at the time, Meille has been a Tyger for a long time now and has done a great job on all of the albums he has been a part of so far. He has quite a range, so can hit some impressive high notes when he needs to, but also has the depth for the heavier and chuggier songs. He sings this track with real power, fitting in perfectly with the overall more-weighty tone. The highlight of the song however is arguably McCrystal's guitar solo, which is slower than his usual style to fit in with the creeping nature of the track. White Lines is the album's lead single, so unsurprisingly the track is pacier with another driving riff and plenty of strong vocals from Meille. Lots of tracks throughout the album are based around strong melodies, and the chorus here is another example of this. This is the sort of track the band has been releasing as a single for the past few albums, and I imagine the track is going to become a live staple going forward. It is a great slab of old-school sounding NWOBHM with some cutting riffing, plenty of driving rhythms, and a powerful chorus. Words Cut Like Knives slows everything down and opens up with some gentle clean guitar melodies. It is something of ballad and, while the song does build up somewhat as it moves along, it never truly moves away from these slower moods. Slower tracks have never particularly been the band's forte in my opinion, but this one is probably the best that they have written for some time. McCrystal's gentle guitar build up sets the mood perfectly, and even when the song becomes much heavier you never feel that a return to this more melancholic vibe is too far away. The solo fits in perfectly too, starting off slowly before exploding into the final reprise of the chorus. Damn You! is heavier, and ups the pace. It is another of Weir's main contributions to the album, and it is clear that he is the main 'metal' writer in the band. His song are always some of the band's heaviest, with some of the toughest riffing and most powerful beats on the album. He also has the ear for a catchy melody too, so there chorus here is simple but powerful. Subtle gang vocals are used throughout the chorus for effect, before his bluesy solo takes the song to the next level. The song is not exactly big or clever, but it is plenty of fun and a great example of the modern Tygers of Pan Tang sound.
Love Will Find a Way is more a mid-paced track, with a strong crunch and a catchy chorus that is possibly one of the album's best. Again, this is not a track that is particularly clever but it is another example of the modern Tygers of Pan Tang doing what they do best. Weir and McCrystal team up again for the song's powerful crunch, although it is actually the riffing during the chorus that impresses me the most. The riff has such a great groove to it and it really helps to bring the chorus to life. It is extremely repetitive lyrically, but the riff and Meille's excellent vocal delivery really make it stand out. It has a real anthemic quality to it, and I imagine it is one that will go over well live if the band choose to play it live. Art of Noise is heavier, so unsurprisingly it is another Weir composition. His riffing drives everything, although it is perhaps Gray's bass that dominates the most. The way the album has been produced often allows his bass to really shine - which is great to see. Great metal often needs great bass to bulk it out, and Gray has become a key member of the band over the past few years. His playing has really allowed the band to become heavier again, and he demonstrates why this is the case throughout the track. Weir also takes the solo here, but it is a very strange one that is different from his usual bluesy style. It has lots of odd effects on it, giving the instrumental section a bit of an experimental vibe. It works somewhat, although it does stick out like a sore thumb as it is so different to anything else on the album - or indeed in the band's catalogue. Sail On is the album's closing track, and it is also the longest song here. The opening guitar lead is quite folky, and it gives the song's opening the sound of a shanty - which is fitting considering the song's title. It is not exactly a progressive track, and progressive is never something that Tygers of Pan Tang have been in any case, but there is certainly a bit more going on here than during the band's average track. Meille does a great job throughout the track, and nails the strutting chorus - while the guitarists manage to conjure up a number of different moods ranging from heavy, folky, and more melancholic. Lots of vibes seem to come together here, and that is why the song manages to fill its longer run time. It is certainly one of the most involved pieces here, but it is also that that makes it one of the album's strongest moments. From fast to slow, this song has it all and it is capped off by a couple of excellent solos from McCrystal - one of which seems to include some rather bluesy slide playing. It is a song that shows off many sides of the band, and it ends the album on a real high. Overall, Ritual is another strong modern offering from Tygers of Pan Tang that picks up where the previous album left off. It is not a world class collection of tracks, but anyone who enjoys strong old-school metal riffing and punchy choruses will find plenty of strong songs here.
The album was released on 22nd November 2019 via Mighty Music/Target. Below is the band's promotional video for White Lines.
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