Phil Campbell and the Bastard Sons' 'We're the Bastards' - Album Review

The death of Ian 'Lemmy' Kilmister in 2015 brought about the end of one of the most legendary British rock bands of all time, Motörhead, after a storied 40 year career. The band's demise also left both guitarist Phil Campbell and drummer Mikkey Dee out of a job - but two such well-respected musicians were never going to find themselves unemployed for long. The latter joined the Scorpions in 2016, but Phil Campbell, who was Motörhead's guitarist for 31 years of that 40 year career, decided to strike out on his own. While Phil Campbell had been occasionally touring with his sons and frontman Neil Starr as 'Phil Campbell's All Starr Band' prior to 2015, playing covers up and down the dive bars of the country, Lemmy's death made the All Starr Band Phil Campbell's main project. Rebranded as 'Phil Campbell and the Bastard Sons' in 2016, the band have become fixtures on the live rock and metal circuits. Motörhead were known road dogs, often touring for months at a time, and Phil Campbell has continued on that trend with his new band - it is all he has ever known after all! The covers were soon dropped, and the band put out their debut self-titled EP in 2016 - with their debut album The Age of Absurdity (which I discussed briefly here) following suit in 2018. I did not pick up The Age of Absurdity on its release, but after I saw the band put in a stellar performance at 2018's Steelhouse Festival I took the plunge. A sweaty show at Plymouth's Junction later that year confirmed my fandom, and the band are now one of those that I will go and see live whenever the opportunity presents itself. It is not just on the stage that Phil Campbell's work ethic can be seen however, as he has been very busy with new album releases of late too. The aforementioned EP and The Age of Absurdity clearly were not enough for him, as last year he also released his debut solo album Old Lions Still Roar (which I reviewed here) - a diverse and punchy collection of songs that featured a number of guest stars from throughout the rock and metal worlds. I think that Old Lions Still Roar had been in the works for some time, but that did not stop Phil Campbell from writing and recording new music with The Bastard Sons however. Released last month, We're the Bastards is The Bastard Sons' second full-length album, and Phil Campbell's fourth release of original material in as many years. That is a return that is rarely seen these days; but his fans can be reassured by the fact that the quality has not been harmed by this regular release schedule. We're the Bastards picks up where The Age of Absurdity left off two years ago, with fast-paced tracks similar to his Motörhead compositions mixed in alongside slower, murkier numbers. While this new album is very similar to The Age of Absurdity in style, those who love good old-fashioned heavy metal, with the occasional modern twist, are sure to find plenty to enjoy here.

Anyone who wants to know what Phil Campbell and the Bastard Sons are all about need only listen to the first two tracks here to get a good sense of their core sound. Weighty riffs, keen speeds, and engaging but not particularly flamboyant vocals are all key ingredients of the band's sound, and all three are on display here early on. The title track opens the album in fine fashion, and it sounds very familiar to many of the punchier songs on The Age of Absurdity (which is name-checked in the song's lyrics), with a strident riff driving the verses - while some percussive Dane Campbell drumming occasionally breaks up the pace to allow Starr to sing. Starr might not have the best voice in the world, but his primal style really fits the band's style perfectly - and he can still deliver a strong melody when required. The song's chorus is a great example of this, which is sure to go down well live with its anthemic melodies and rallying cry style. A bluesy, but expressive solo is the icing on the cake - but sadly the booklet does not credit whether Phil or Todd Campbell is responsible for it! If We're the Bastards is the band at their most anthemic, then Son of a Gun showcases the remnants of Motörhead in their sound with a roaring bassline from Tyla Campbell opening things up - before the song steams ahead with a pacey drum groove and a choppy riff. Phil Campbell wrote tonnes of songs like this with Motörhead over the years, and it is great to see that style still very much alive and well in The Bastard Sons. While Starr is no Lemmy, his no-nonsense vocal approach still works well within the context of the song - his delivery a great balance of aggression and melody. Promises are Poison is a little more groove-orientated, with a southern-fried riff opening things up before a bouncy verse showcases the band as a tight unit. There is something of a modern alternative rock/metal vibe here, which is something that the band flirted with occasionally on The Age of Absurdity but seem to have expanded on a little here. The style works well for the band however, and the song's riff is possibly one of my favourites on the whole album - especially when it backs the simple, but catchy, chorus. Bands like Shinedown certainly seem to have influenced this track, but with the band's core sound and grit still present - especially during the screaming guitar solo. Born to Roam is a bit on the slower side, and is somewhat reminiscent of songs like Dark Days from the debut album. Born to Roam is not quite so sludgy however, and it has a bit more bite and energy than the grungy Dark Days - but the vibe overall is similar. As much as I like Starr's delivery during the pacier tracks, I actually think his voice is better suited to singing songs like this. He manages to conjure up a surprising amount of emotion during this slower, weightier piece, and he really shines here. It is another strong track, with Pantera-esque grooves running throughout and another great bluesy guitar solo.

Animals returns to the Motörhead-esque pace of the band's core sound, with a style very similar to Son of a Gun with a driving metal riff and a powerful Tyla Campbell bass presence. Songs like this are probably where the band feel the most at home. Despite their slower numbers being great, and perhaps Starr being better suited to them, these faster numbers really bring the energy and allow everyone to let their hair down. Starr's aggressive delivery is on full display here, with the chorus in particular featuring a spitting performance that really adds to the overall attitude of the piece. We have heard numerous songs like this from Phil Campbell over the years, but thankfully the formula never seems to get old. Bite My Tongue opens with another stand-out riff that is packed with wah and strident, bluesy melodies - which recalls early Black Stone Cherry at times. In fact, the song as a whole has a bit of a modern southern rock vibe throughout, with great grooves and a strong sense of melody - all while the band's trademark attitude is still present. I would like to hear more songs like this from the band in the future, as the grooves throughout are great - and they allow the band to get even bigger and more expressive with their riffing. Desert Song is somewhat similar to Born to Roam, but with a more stripped-back bluesy sound that incorporates some occasional bursts of harmonica. This more stripped-back approach is another slightly new sound for The Bastard Sons, but those who are familiar with Motörhead tracks like Whorehouse Blues will recognise the style - although that rootsy style is a little more beefed up here with a grungy, emotional chorus. Desert Song allows the band to a show a different side of their songwriting, and it proves to be a great mid-album change of pace. Keep Your Jacket On returns to the band's core sound, and it sounds like a brother piece to We're the Bastards with a strong mid-paced groove and plenty of catchy riffs. Like We're the Bastards too, there is a real anthemic vibe here - especially during the faster choruses which feature some great choppy riffing and stuttering vocal melodies. Songs like this are The Bastard Sons in their natural habitat, and Keep Your Jacket On brings the best out in everyone, with bluesy solos, riffs, and melodies aplenty. Lie To Me opens slowly with a feedback build up, before it explodes into another sledgehammer of a riff that drives the song with its weight and grooves. It is possibly the heaviest track here, and the slower pace really allows this heaviness to rise to the top. The album's simple production style helps too, with great guitar tones adding to the heaviness - while Tyla Campbell's bass is very high in the mix to give the song a great rumble. Despite the heaviness, the song is still very accessible however. Starr's vocal melodies are infectious throughout, and the great pre-chorus sections that see the heaviness drop out to be replaced by some hypnotic melodies help to break up the otherwise relentless riffing.

Riding Straight to Hell opens with a choppy driving riff that reminds me a little bit of Queens of the Stone Age's No One Knows with its staccato rhythm and punchy overall style; but otherwise the song is pure Bastard Sons with its strong mid-paced groove and overall grit. While not as anthemic as a song like We're the Bastards for example, this is still a song that was clearly written with being played live in mind. The chorus features some gang vocals, which is not a technique employed by the band very often, and there are plenty of melodies throughout for a crowd to latch onto. The part near the end where the guitars drop out and leave the bass and drums alone to play the main riff is made for the stage; and the song overall is another strong addition to the album. Hate Machine picks up the pace, and is possibly the most Motörhead-esque track here. Tyla Campbell's bass has a lot of distortion on it here to ape the sound of the late Lemmy, while Dane Campbell throws in some double bass drum rolls to keep the pace up. There is a real attitude present here, and it is probably the album's grittiest piece as a result - with a great snarling Starr vocal throughout. Those who really like the last few Motörhead albums will instantly recognise Phil Campbell's songwriting style here, but The Bastard Sons have now made that sound their own, and Hate Machine is one of the band's best cuts yet as a result in my opinion. Destroyed is similar, with a fast-paced riff and plenty of attitude - but with a big punk influence this time around. There is also a little more of the band's modern alternative rock/metal influences to be found here in the production style, but overall the song is very reminiscent of many of the songs found on their first album. It is a great final burst of energy however, and it works well as a penultimate number to really give the album one final kick up the backside before the slower closing number. Waves is possibly the absolute antithesis to Destroyed then, and the slow ballad is something quite different for the band. It might seem like a strange way to end what is overall quite a heavy and fast album - but I think it works well. The song has a great bass presence throughout, which often provides the main melodies, but the guitars chime in throughout with clean arpeggios and the occasional big chord. The star of the show however here is Starr, who really nails the song vocally. His emotional performance is perfect for the song, and the vocal diversity he shows throughout the song is unlike anything else he has showcased with the band before. It helps to end the album on a real high and, as much as I like the band's core sound, I would like to hear more songs like this from the band in the future. Despite this low-key closing moment however, We're the Bastards is largely a high energy affair that picks up where The Age of Absurdity left off two years ago. There are a few twists and turns throughout, but this is largely a good old-fashioned metal album with plenty of hooks and strong riffs. These songs will no doubt sound great live, and I am sure that the band cannot wait to get back on the road and showcase them.

The album was released on 13th November 2020 via Nuclear Blast Records. Below is the band's promotional video for Son of a Gun.