Def Leppard's 'Diamond Star Halos' - Album Review

Sheffield's Def Leppard are, and have been for a long time, regarded as true British rock royalty. Whilst they might not have quite reached the level of bands like Queen when it comes status, there is no denying that Def Leppard have been a huge force in the music world since the 1980s - and they are certainly one the UK's biggest musical exports, based on their album and single sales in the 1980s alone. The band are showing no signs of slowing down, either, as, at time of writing, they are currently in the midst of a large and seemingly very successful stadium tour of America with Mötley Crüe. Unlike some of their peers, too, who have long embraced the nostalgia circuit, Def Leppard have generally remained a creative force. Whilst their setlists are generally quite greatest hits-centric, the band have remained active as songwriters - and have periodically put out new albums over the past couple of decades, whilst also sometimes pulling the odd nugget out of the vault live. Until this past May, however, it had been quite a while since the band had released any new music. The band's last, self-titled, album (which I reviewed here) was released back in 2015 - which in itself was their first album in seven years. In my opinion, though, Def Leppard was a great album. Whilst many of the casual Def Leppard fans who just want to hear hits probably never bothered to pick it up, those of us who did spend some time with the album found it to be a varied and enjoyable mix of songs - that included a number of classic-sounding Def Leppard pop rockers mixed in with some grander and more organic pieces. It was an album which showcased that the band were still great songwriters, and it built on the good work of 2008's Songs from the Sparkle Lounge - a less complex album, but one which was packed full of memorable anthems. Rumours of a follow-up to Def Leppard had been circulating for a while, but back in May the band released their twelfth studio album Diamond Star Halos. On the one hand it is a shame that Def Leppard have left long gaps between their recent albums, as it means that their die-hard fans have had to endure long waits between each one; but on the other hand the gaps ensures that each new album is something of an event. Considering how many classic bands see little value in releasing new albums, too, Def Leppard's willingness to be creative should be applauded - even if they do not return to the studio as often as many would like. Their albums are often worth the wait, too, and Diamond Star Halos is another excellent entry into their catalogue. For me, the album is quite similar in style to Def Leppard - in so far that it is quite varied and contains a few different styles which have had the Def Leppard sound applied to them. It is probably not quite as diverse as Def Leppard, with Diamond Star Halos also looking back to Songs from the Sparkle Lounge for influence - as the new album includes a number of straight up pop rockers which seem to have been going down well on the band's current tour. It is very much an album that captures the essence of what has made Def Leppard great over the years, too, and it continues the band's excellent recent run of form.

The early part of the album is characterised by its upbeat and poppy nature. Many of the opening songs were released as singles prior to the album's release, and they are very much in the classic Def Leppard vein. Take What You Want opens the album, with a crashing power chord and an Electric Light Orchrestra-esque guitar melody - which builds up, in classic Def Leppard fashion, towards a weighty guitar riff. Guitarists Phil Collen and Vivian Campbell both shine throughout the album with their melodic playing and fluid soloing, but Take What You Want is a great guitar showcase early on. It is one of two songs here written by bassist Rick Savage, though, so unsurprisingly the verses are very bass-driven - with the guitars adding melody atop the driving rhythm section. Frontman Joe Elliott sounds great throughout, too, his trademark approach to vocal melodies as hooky as ever, and the song's chorus grabs hold thanks to his anthemic performance. A solo section that is started by Campbell and closed by Collen injects some virtuosity into the piece, too, and it is clear from the off that Def Leppard mean business here. Kick, which was the first single released from the album, then kicks in and opens with a fuzzy guitar riff. Def Leppard have always been influenced by 1970s glam rock, but there seems to be even more of that in the band's sound throughout this album - and Kick has a strong 1970s vibe thanks to its old-school guitar tones and drummer Rick Allen's slightly funky beat. The pre-chorus channels Sweet somewhat, whilst the chorus looks across the pond to the power pop sound of Cheap Trick. It is a great old-school slab of glam rock, which I imagine will really come alive on stage. Fire It Up is similar in tone, but it feels more anthemic overall thanks to an opening staccato drum groove that brings Queen's We Will Rock You to mind somewhat. This is then mixed with a slightly heavier verse that recalls early Aerosmith, and it provides a great contrast with the opening rendition of the chorus - as later choruses tend to feel smoother and less drum-led. Collen's guitar solo has a strong 1970s feel to it, too, especially the early licks within it which are rather bluesy, which fits in nicely with the Aerosmith vibes of the verses. This Guitar tones things down quite considerably, and is the first of two songs here to feature to vocal talents of Alison Krauss. She does not dominate the song, but she sings in harmony with Elliott throughout - and she helps the country-inspired ballad to shine. Their two voices work well together, whilst Campbell's slide guitar swells throughout boost the song's emotional pull. Def Leppard have always done ballads well, but This Guitar stands out somewhat as it is not a ballad in the band's typical style. The country vibes work well though, and Collen's emotional guitar solo really pulls everything together. SOS Emergency gets back to the band's core sound, though, and it sounds like something that could have appeared on Songs from the Sparkle Lounge. Outside of Take What You Want, SOS Emergency is easily the most classic Def Leppard-sounding song on the album so far - with a big Collen guitar lead giving the track a strong melodic hook, whilst the chorus is packed with walls of the band's classic vocal harmonies. It is a song that sticks in the brain, and channels the band's classic sound perfectly.

Liquid Dust tones things down again somewhat, but the song is not slow enough to really be considered a ballad - with the track instead being something of a cinematic mid-paced rocker. This is a sound which the band have toyed with quite a lot of late, and there were a few similar cuts on Def Leppard in 2015. Subtle string arrangements add depth throughout, whilst the track brings the best out of Elliott's slightly grittier vocal delivery which he has acquired with age. Due to the big sound of the piece, it is a song that showcases the band's love of Queen, too, with lots of vocal harmonies, lead guitar themes, and keyboards to create a strong atmosphere throughout. The song segues into U Rok Mi which, embarrassing title aside, is another strong cut that takes something of a different path than what might be expected. The eventual chorus is very much typical of Def Leppard's sound, but what surrounds it is different - with a pounding and groovy Savage bassline and lots of chiming ukulele playing from Collen. This means that song opens out with something of a bluegrass vibe, but this is mixed with a funky hard rock sound that at times reminds me of the Dan Reed Network's recent work - with a classic Def Leppard chorus and a busy guitar duel between Collen and Campbell thrown in. Goodbye for Good This Time is another ballad, and it is the first of two songs to feature the piano talents of David Bowie's long-time collaborator Mike Garson. Garson has tended to operate at the more avant-garde end of the musical spectrum, so hearing him contribute to what is essentially a big 1980s-style power ballad is a treat, and his playing really bulks out the song nicely - which also includes a delicate nylon strong guitar solo from Collen and a soaring string arrangement. The spotlight, though, tends be to on Elliott, who's vocal performance throughout the song is excellent - and the chorus really shines thanks to his emotional delivery and more big harmonies. After a handful of different-sounding tracks, All We Need is very much another slab of classic Def Leppard pop rock. The band have always had, at least since Collen joined the band, a very recognisable approach to creating guitar riffs and melodies - and All We Need makes use of that classic sound throughout. A staccato guitar melody really drives the song, whilst Elliott once again channels the Electric Light Orchestra with a vocal style and delivery which is very reminiscent of Jeff Lynne. I really like all of the 1970s influences that have been pushed to the fore throughout this album. They have always been present in Def Leppard's sound, but they seem more prominent this time - and it ensures that every song is packed full of melody. Open Your Eyes ups the heaviness a little, and opens with a thick Savage bassline. The bass playing is very prominent throughout the song, and Savage's playing certainly stands out more than much of the guitar riffing this time - which generally only add colour to the prominence of the rhythm section. It is this that makes the song feel heavier, although in truth is largely another mid-paced cinematic rocker - similar in tone to Liquid Dust. The snaking track is full of atmosphere and mystique as a result, and a closing Collen guitar solo injects a few spiky melodies as it fades out.

Gimme a Kiss That Rocks returns to the extremely accessible nature of the album's opening handful of songs, and the track is a bouncy pop rocker in classic Def Leppard fashion. There is a big backing vocal arrangement that is present throughout - but it really enhances the song's pre-chorus and chorus sections. The pre-chorus features some of the busiest backing vocals on the album, which add lots of depth and additional hooks, whilst the chorus is relatively hard-hitting with some weighty riffing and anthemic Elliott vocal melodies. Despite the complex backing vocal arrangements, the song as a whole is relatively straightforward - with a foot-stomping rhythm throughout and lots of big hooks. Angels (Can't Help You Now) is another ballad, and it very much feels like the sequel to Goodbye for Good This Time - especially as it also features Garson's piano playing. Funnily enough, the song actually reminds me of some of the ballads that Cats in Space have written - which amuses me as Cats in Space's sound is deliberately very much a throwback to the 1970s, although they do include the odd Def Leppard-esque moment from time to time, too. Elliott has always written strong ballads, though, and this is another good one - with a chorus that sticks in the brain thanks to another big harmony vocal arrangement and more soaring orchestrations. Lifeless is the second song to feature Krauss' vocals, and she is used in a similar supporting to role again - although she shines a little more this time, too, with the odd featured vocal line. Whilst This Guitar was more of a ballad, Lifeless is more upbeat - and it very much channels that modern country sound that is popular in America. It works well in a Def Leppard context though, as the band have still managed to include a number of their key sounds - such as their love of a big vocal harmony and a lengthy Campbell guitar solo. Unbreakable opens slowly, with Elliott's vocals and a guitar melody, but it is not too long before the song morphs into another upbeat pop rocker. It has an overt drum machine backing, which gives the song a strong 1980s pop vibe at times, but when Allen's proper drums kick in for the chorus the big Def Leppard feel returns. The chorus is one of the album's hookiest, too, thanks to some great vocal harmonies and melodies which again recall Sweet. Campbell's solo is suitably muscular, too, and adds a lot to the song. The album then comes a close as it started, with a Savage songwriting effort, and From Here to Eternity is a strong closing number. It is the only song here to breach the five minute mark, and it very much reminds me of some of the more expansive and experimental pieces from Def Leppard. There is a Led Zeppelin meets Electric Light Orchestra vibe present throughout, with more of an organic sound guitar-wise meeting big vocal arrangements and a lighter pop touch. That being said, though, the arrangement is generally quite dense. There are a lot of keyboard and string sounds here, which when added to the vocal arrangements give the song a big sound. Both Campbell and Collen solo throughout, too, and the song is one that brings the best out of the whole band - whilst bringing the album to an epic close. It is also a song that pulls some of the album's other ideas together, and it helps to reflect on some of the previous songs, too. Diamond Star Halos, as a result of its diversity and songwriting, is another excellent recent effort from Def Leppard. It is a long album, at over an hour in length, but there are no songs here that I could easily cut to improve the overall experience. The quality is strong throughout, and it is great to see the band really delivering in the 2020s.

The album was released on 27th May 2022 via Bludgeon Riffola Limited/Mercury Records. Below is the band's promotional video for Kick.