Thunder's 'Dopamine' - Album Review

There are quite a few bands out there that used the lockdowns and lack of touring opportunities caused by the COVID-19 pandemic wisely. Whilst some bands essentially shut up shop and were not heard from for two years, others stayed creative in a number of different ways - particularly those with a prolific disposition. One such songwriter is Luke Morley, the guitarist of the British hard rock band Thunder - whose catalogue he has written around 95% of single-handedly. Thunder have been in rather rude of form of late, particularly since releasing Wonder Days (which I reviewed here), which was their first album in seven years, back in 2015. Wonder Days was the band's first album following a brief hiatus that lasted from 2009 to 2011, and it seemed to really revitalise them - who since reforming had largely just played the odd show here and there. Until Wonder Days, Thunder were seemingly unsure of how they wanted to operate. They clearly did not want to split up, as their hiatus did not last very long, but it also seemed like their return was a fairly casual one. They have since credited a 2013 UK tour with Journey and Whitesnake as the catalyst for them writing new music again, and Wonder Days' success seemed to give the band the kick that they needed - and the resulting tour saw them attract a good-sized crowd at London's Wembley Arena. Thunder have not really looked back since, and Wonder Days was soon followed up with Rip It Up (which I reviewed here) and another tour. The band kept busy after the Rip It Up touring cycle concluded by indulging in a number of other projects including putting together the seemingly-obligatory acoustic re-workings album that all long-standing bands seem to release at one point - which was also followed by its own tour of more theatre-like venues to make the most of the stripped back nature of the shows. It was not until 2021 that the band properly followed up Rip It Up, though, when they released the excellent All the Right Noises (which I reviewed here) - an album which has generally been heralded as one of the band's very best works. I personally prefer Wonder Days from Thunder's recent run, but there is no denying that All the Right Noises is excellent. It is a shame, then, that it never received its own tour, as the band's 2021 UK tour was pushed back to 2022 - but three of its songs were featured on those 2022 dates which concluded last month with another excellent night in London. The reason that All the Right Noises was not featured more on the tour was the release of Dopamine - the band's latest and fourteenth studio album - back in April. Not wanting to sit still following the release of All the Right Noises, Morley started writing again - and the result was Thunder's first double album, with Dopamine being a double-disc, 16-song collection. In truth the album could have probably fitted on one CD, but perhaps the band felt that the flow of a two-disc collection was better. Either way, though, Dopamine is a lot to digest - especially for a band of Thunder's ilk. That being said, though, it is probably the band's most varied work to date, with a few more experimental pieces sitting alongside more traditional hard rockers.

The album opens in fairly traditional fashion, though, with the hard-hitting opening guitar riff of The Western Sky - a song which very much continues with the sound forged on Thunder's other recent albums. The song is a good mix of tough, riff-based hard rock and the band's knack for a catchy melody. The verses chug along thanks to the riffing of Morley and fellow guitarist Ben Matthews; whilst the ageless voice of frontman Danny Bowes provides the main melodies. He sounds as good now as he did in the 1990s when Thunder put out their first handful of albums, and his commanding vocal performance is a big part of what makes Dopamine great. The song's chorus showcases the band's slightly more melodic side, with washes of Hammond organ backing up Bowes' bluesy melodies - before a great Eastern-tinged guitar solo adds some additional melodic touches. One Day We'll Be Free Again reins in the toughness of  much of The Western Sky, and instead goes for a breezier rock sound that gradually builds up around Bowes' voice, some bluesy guitar melodies, and subtle percussion from drummer Harry James. Slowly some organ and the backing vocals of Julie Maguire and Carly Greene (who make a big impact on a number of the album's songs) are added to the mix - and the band soon kick in properly and the song starts to rock a little harder. It never hits as hard as the album's opening cut though, and there are hints of Americana and soulful bluesy rock that dominate instead. The song is perfect for Bowes' bluesy vocal delivery, and the liberal use of the Hammond throughout helps to add plenty of depth. There are a few songs on the album that take on more of a rootsy vibe, and Even if it Takes a Lifetime is the first of a handful of more organic pieces here. The song is largely acoustic-based, although the rhythm section of James and bassist Chris Childs add plenty of groove. Acoustic slide guitar moments add plenty of organic depth, whilst organ and barroom piano melodies also add to the song's down south American vibe - particular during the melodic chorus which is filled with layers of soulful backing vocals. Thunder have written songs in this vibe before, but Even if it Takes a Lifetime feels somewhat more sure of its influences this time - with the maturity of the veteran band ensuring that the roots rock vibes work. Black ups the heaviness again somewhat, but it retains some of the organic nature of the previous song to create a darker sound that has both depth and energy. Childs' bass playing is a big part of the song, especially early on, and the song builds around a rhythmic groove - with effects-heavy guitar leads and synths adding to the atmosphere. As such, the song sounds quite different for Thunder. There is still a bluesiness thanks to Bowes excellent vocal performance, but the overall arrangement feels quite different - even if there are moments with the Led Zeppelin-esque quality thanks to the mix of raw guitars and synths.

Unraveling (the band's incorrect spelling, not mine) is the album's first ballad, and it is another song that has a strong acoustic base which it gradually builds from. Thunder have always written strong ballads, and this is another good one - and it came across really well when it was played live on the recent tour. It never really grows significantly from its acoustic basis, but the song still has a large sound. Piano melodies add depth, whilst a bluesy guitar solo adds to the song's overall emotional pull. The star of the show, though, is Bowes. The overall arrangement of the song is such that the melodies never overshadow his performance, and he is allowed to really shine throughout. His performance throughout the song might be one of his best on the album overall, and it elevates what might have otherwise been a bit of a throwaway acoustic-based number into a real highlight. The Dead City returns to Thunder's typical upbeat hard rock sound, and after a number of slightly different tracks it is nice to hear something more familiar. The Dead City could have easily sat on any of the band's previous albums with its bouncy guitar riffing and the upbeat, driving bass presence. Some of the more experimental pieces here are some of the album's highlights, but hearing the band just sound like themselves is also welcome. The song has a strong chorus which makes the most of Bowes' bluesy delivery, whilst a lengthy guitar solo ups the overall energy levels with some busy and upbeat playing. It is the sort of song that Thunder have written many times before, but as a good representation of the band's core sound within an album that goes off in a number of directions The Dead City does its job. Last Orders opens with some acoustic guitars and a rare lead vocal spot for Morley, who sings the first verse. I am not sure why Morley sings here, but it works well - and Bowes soon takes over after the first injection of bluesy lead guitar. Despite the song's acoustic opening, it soon morphs into an upbeat rocker - leaving its acoustic side behind and replacing it with some jaunty riffing and some upbeat boogie piano lines. In many ways the song is quite representative of Thunder's core sound, but the boogie vibes help it to stand out - and give it something of a southern rock feel at times. The first disc comes to a close with All the Way, another harder rocking piece that opens with a catchy, fuzzy guitar riff. There are certainly big shades of Thunder's core sound here, but some of the riffing sounds a bit different from the norm, and there is a real weight to some parts of the song thanks to this riffing style - as well as the big presence of Childs' bass playing. The song is still pretty bluesy, though, so it does not divert from Thunder's formula too significantly - it just sounds a lot more American than usual thanks to the fuzzy playing and the overall rhythms and grooves that are conjured up throughout.

The second disc opens in bright fashion with Dancing in the Sunshine, a breezy upbeat rocker that is very much typical of Thunder's recent sound. It rocks quite hard, but there is plenty of melody within and it is a song that is full of good-time vibes. The piano playing is busy throughout, which ups the overall brightness, whilst Bowes' vocal display is perhaps a little less powerful than usual - but his slightly more laid-back delivery helps to add to the song's breezy feeling. It is the sort of song that sticks in the brain after only a couple of listens, so unsurprisingly it was another song that came over well live on the band's recent tour. It is the sort of song that gets people moving, and its carefree attitude and catchy melodies make it an overall album highlight. Big Pink Supermoon reins in the breeziness of the previous song to instead focus on a bluesier sound. It is based around a big piano groove, which either comes from Matthews or touring keyboard player Sam Tanner (both are credited with playing keyboards on the album), which is added to by James' percussive drumming, some scratchy guitar chords, and subtle Hammond washes. Thunder have done bluesy tracks like this before, but like a number of the songs here it feels like a sound taken to the next level. The keyboard interplay throughout is great, and unsurprisingly there is plenty of room for a bluesy guitar solo (or two) - which adds to the overall depth of the song. The star of the show again, though, is Bowes - who's soulful vocal delivery really brings the song to life. The song closes out with a great saxophone solo, too, courtesy of Andrew Griffiths. I cannot recall saxophone being utilised by Thunder in this way before, and it gives the song an excellent final boost. Across the Nation, like The Dead City, is very much Thunder 101, though, and it helps the listener to connect with Thunder's core sound again after a couple of slightly varied tunes. Morley's riffing throughout the song is very typical of his style, and the injection of the odd slide guitar melody helps to cement the band's bluesy tendencies. Busy piano playing also helps to add to the song's bluesy nature, and also add depth and melody to what is overall a fairly hard-rocking piece, whilst a decent chorus helps it to stick in brain. Throw in a memorable guitar solo, too, and the song is very much a slab of classic-sounding Thunder - and the song was another highlight of the band's recent live set thanks to its riffing and upbeat vibe. Just a Grifter tones things down again, and is another more acoustic-based track. Pat McManus (Mama's Boys; Celtus) adds some mournful fiddle to the track, and his playing really sets the tone for what is it come. This is a very stripped-back song, and it never grows in stature like many of the other songs here. James' drumming is very percussive, and the guitars are very exposed thanks to their organic sound. It is quite a short song as a result, but it works nicely as a mid-CD break. I like how raw the song is, and the fiddle playing helps it to stand out - as this is another instrument that Thunder have not really toyed with before.

I Don't Believe the World opens with some deep piano chords, and it sounds like it is going to be similar to Black or Big Pink Supermoon - but instead the song ends up being a strange mix of soulful rock and organic blues. The piano ends up being the song's main driving factor, with the opening deep chords sitting alongside more melodic piano playing, with a rather stark drum pattern backing everything up. There are no real guitar riffs here, with the guitars only really adding colour - and beefing up the choruses which are dominated by lots of big vocal harmonies. There is a bluesy guitar solo, though, which shines a light on the instrument, but overall this is very much a piano-based piece - which helps it to stand out. Disconnected gets back to Thunder's core sound, though, with a heavy-sounding main riff that recalls how the album opened with The Western Sky. The guitar tone is quite weighty here, but the song itself is not that overly-heavy - it instead just rocks with more Led Zeppelin-esque grooves. The verses have a bit of a stop-start riffing style, with a lack of a big bass presence to allow Bowes' voice to punch nicely between the riffs, whilst the choruses are groove-laden moments with reinstated bass playing, organ washes, and soulful vocal hooks that easily stick in the brain. It is a song that could have sat on All the Right Noises, as that album was very much based around this kind of sound. It is not as upbeat as Thunder usually are, but the song is still a good representation of the band's core sound - albeit with a weightier edge. Is Anybody Out There? is another ballad, but this time the song is very much piano-based - and it opens up with Bowes singing wistfully against a sombre piano backing. Given that many of the songs here are quite deep, it is good that the band decided to include a handful of much simpler songs here, too. Just a Grifter is a good example of Thunder stripped back, but Is Anybody Out There? probably features the least layers of any song on the album. It never really builds beyond its opening vibe, although there some subtle strings and the occasional hint of percussion that gently enhance parts of the song, even though it sounds a couple of times as if the band are about to crash in. I am glad that the song retains its simplicity, though, as it is a great showcase piece for Bowes - who's voice sounds at its most bluesy and soulful here against the simple piano backing. The album comes to a close with No Smoke Without Fire, which also opens slowly - but the song does morph into a rocker after the first minute or so. The song's opening section is very much low key and bluesy, though, with gentle guitar melodies and Bowes' crooning vocals, and the song does return to this vibe throughout - but on the whole the song rocks with a strong mid-paced hard rock groove and pulsing bassline. It grows in depth as it moves along, too, with plenty of Hammond joining in - and the voices of Maguire and Greene adding their power to what is a smouldering track of bluesy hard rock goodness. Despite it being a rocker, the album does not end on a bang - but for me that suits its overall variety. It might be a touch too long, but none of the songs here are bad. The variety helps maintain interest, though, and Dopamine is easily the band's most diverse album to date. There is a lot to like here, and it is great hearing Thunder still sounding so vibrant.

The album was released on 29th April 2022 via BMG Rights Management (UK) Ltd. Below is the band's promotional video for The Western Sky.