The Temperance Movement's 'A Deeper Cut' - Album Review

While not ever really breaking through to the super leagues as it seemed might happen when they released their self-titled debut album back in 2013, The Temperance Movement have still become an extremely popular band. The band's upbeat sound, that forges driving blues rock with Britpop-era indie sensibilities, has managed to draw in fans from various walks of life which certainly accounts for much of their popularity. Despite seeming like veterans of the rock scene due to their heavy touring schedule over the past few years, The Temperance Movement are still a relatively young band that are still establishing themselves and their sound. The self-titled debut album was a great slab of raw blues rock; with riffy driving tracks mixed in with heartfelt ballads for diversity. The next couple of years were spent touring it, with their second album White Bear (which I reviewed here) coming three years later in 2016. Despite containing some good songs, White Bear felt sterile compared to the roaring debut. It is not an album I return to regularly, opting for the debut when I feel like I need a hit of The Temperance Movement's music. It was clear that they were trying to do something a bit different from the debut, which is commendable, but I feel that they did not quite pull it off. More touring, two years, and a couple of line-up changes later the band are back with their third album A Deeper Cut, a really strong collection of songs that returns more to the sound of the debut while still managing to incorporate some of the experimental streak found on White Bear. The line-up changes have made very little difference to the feel of the band, with guitarist Matt White and drummer Simon Lea fitting seamlessly into the groove of The Temperance Movement. White replaced former guitarist Luke Potashnick, who left the band before White Bear was released, and Lea replaced original drummer Damon Wilson later the same year after the latter amicably left the band. White and Lea join original members Phil Campbell, Paul Sayer, and Nick Fyffe; and the five men have worked together really well to craft the songs for A Deeper Cut. It is also worth noting that, as far as chart positions go, this is the band's most successful yet. Both the band's debut album and White Bear reached the top 20 of the Official UK Album Chart, but A Deeper Cut has broken into the top 10 for the band's first time and finished up at number 6. This is a big achievement for the band, and shows that they are a band that is still on the rise and continuing to gain fans across the country. This is evident when you go to one of their concerts. There is usually a whole range of different people in attendance, far more diverse than your average rock crowd, which shows how the band's music is reaching out to a broad audience.

The opening number and lead single Caught in the Middle is a driving rock number akin to the sound the band forged on their debut album. A choppy guitar riff drives the song, and forms the basis of the verse, while frontman Campbell barks the lyrics out in his trademark gravelly drawl. This is a very basic song, but one that is packed full of attitude and swagger - especially during the shout-along chorus which is packed with a bluesy stomp as the guitars roar at the end of each bar providing the perfect counter to the vocals. It is a short, but one that will stick with your for a long while. Built-In Forgetter is quite similar, with Lea's shuffling drumming driving the verses while a bare bones guitar riff punctuates in between the vocal lines for some true rock punch. This is a song that is packed with groove, and all of that is down to Lea's drumming. He is not playing a fancy beat throughout, but he is perfectly in the pocket and lays down a groove for everyone else to play with. Elsewhere, the somewhat gospel-inspired chorus is packed full of melody. Campbell's vocals are slightly cleaner here while helps to carry the melodies atop the jangly guitars. The gospel feel continues with Love and Devotion, which has a soaring soulful chorus and a dirty blues riff to drive everything else. It is clear that bands like The Black Crowes have always been a big influence on The Temperance Movement, and songs like this one really show this influence. The Robinson brothers could have written this song, and a great slide guitar solo towards the end seems to pay tribute that great American band and their peers. The album's title track is up next and this takes the form of a fairly delicate ballad, with acoustic guitar and Campbell's cleaner vocals dominating earlier on. Atmospheric electric guitar lines and chords are added throughout, especially during the sparse chorus, but the song never really departs from the basics - even when the drums kick in after the first chorus. Lovers & Fighters from the band's debut albums is one of my favourite rock ballads of the past few years, and this song really rivals that song for me. Campbell, while usually known for his harsh, bluesy vocals, sounds so different here and he manages to inject a tonne of emotion into the song. I love how the song slowly builds towards the end, with a distant, shouted refrain forming the basis of the progression while the guitars etc. swirl around it. Backwater Zoo is easily the band's quirkiest tune yet, and features a piano courtesy of Campbell - something which the band have introduced on this album. The song is a great piece of barroom boogie, with Campbell's piano driving everything while the choppy guitars dance around it and lock in perfectly for a bluesy groove. While not hugely different from the band's established sound, it still manages to stand out with the heavy use of the piano and become one of the highlights of the album. Another Spiral is another slower track, but one that falls somewhat flat compared to the title track. I think after seeing the band perform this song live a couple of times, during which Sayer would launch into a lengthy guitar solo to close the piece out, the more restrained studio version feels less interesting. There are good moments however, including an Eagles-esque pseudo-chorus with some subtle vocal harmonies that do capture the attention.

Beast Nation is probably the song on the album which has grabbed me the least, and it seems to be caught between wanting to be a rocker and a slower piece. The strange verses, with some stop-start guitar riffing, seem like an experiment that has not quite worked; but the gorgeous chorus definitely sits in the song's favour. I really like the simple melodies that Campbell creates with his voice, and the lyrics really sink in after a couple of listens - it is just a shame that the rest of the song does not quite feel right. The Way it Was and the Way it is Now gets things back on track with a strong mid-paced groove that makes a lot off Fyffe's bass. The guitar lines here are mostly simple, with chopping chords again being favoured by Sayer and White, leaving the bass to really provide the main rhythms. Fyffe is a really tasteful bassist, and often really adds to the songs' groove with subtle basslines that bring everything to life. This is a song that really shows what he adds to the band, and is is another example of the band's default bluesy rock sound. Higher than the Sun is a great laid-back piece that makes use of atmospheric guitars throughout and a cool vocal display from Campbell. While not a ballad, this is not a song that every really rocks out. It is a song that has a great summery vibe with shimmering atmospherics. There is nothing abrasive here, and nothing to really get feet stomping, but instead this is a piece to relax with a cold drink to. This vibe is enforced with a snaking and bluesy guitar solo that comes in towards the end, before leading into a final reprise of the chorus. It does seem strange for a rock band to end their album with three (or four if you include the previous number) slower songs, but that is what The Temperance Movement have chosen to do here. Children, with more piano from Campbell, is the first of the three and it is clear from the off that it is another winner. Piano and acoustic guitar dominate, while the drums and bass sit well in the background and only provide a simple percussive backing, which allows Campbell to lay down another really heartfelt vocal. He seems to have really upped his game when it comes to singing ballads recently, and his ability to really convey emotions in his delivery has improved immensely. There is more than a little country in Children, and it works within the context of the album. There's Still Time, while not a true slow song, still has a fairly chilled out vibe. A punchy drum beat helps to drive everything along nicely, while the acoustic guitar chords and playful piano melodies meld nicely with some jangly electric guitar lines. There is something about this song that I really enjoy, despite it being caught between two camps. This song, unlike Beast Nation in my opinion, manages to pull this feeling off successfully; plus there is something just so irresistible about the wistful chorus. The album comes a close with The Wonders We've Seen which seems like an odd choice for a closing number.  A true rock number or a soaring ballad would have been a better choice I believe, but instead the somewhat plodding piece comes and goes without ever really making an impact. The chorus is a little more like it, with a bit of a punch with some ringing guitar chords, but the rest of the song is a little saccharine for a band like The Temperance Movement. Overall, a couple of weaker moments aside, A Deeper Cut is a really strong third release from the band. This definitely packs a punch and rights some of the wrongs of the somewhat lacklustre White Bear. A few of the songs here are destined to become regulars in the band's setlists for years to come, and I hope the album is a big success for them.

The album was released on 16th February 2018 via Earache Records. Below is the band's promotional live video of Caught in the Middle.