You know that you are getting old when you start to feel nostalgic about certain bands from your youth. I jest of course, as I am certainly not old, but the point still stands - and 16 certainly feels a long way away from 29! What I am trying to say is that the bands that I was into when I was 16 or so hold a special place in my heart. Many of the bands that I was into at the time were big, established bands from the rock and metal world that I was discovering late in their careers - but there were also a handful of newer bands that I was getting into on my own terms. These younger bands felt like they were 'mine', in a way that the Deep Purples and Whitesnakes of the world did not, and I felt that I was at the heart of the next wave of great, world-beating rock and metal acts - bands that I would grow with as their statures rose. Bands like Heaven's Basement, Glyder, Dear Superstar, Glamour of the Kill, and Voodoo Six were heard as often on my iPod as the bands that influenced them, and I was certain that I was backing the right horses. Of those five quoted bands (and there were many others): two have split up (Heaven's Basement and Glyder), two reformed fairly recently to play a handful of shows and have since gone very quiet again (Dear Superstar and Glamour of the Kill), and one is still going (Voodoo Six). It was sad seeing many of the 'new' bands that I loved falling by the wayside, but it also taught me a lesson about the way the music industry operates these days, and how hard it is for a band to truly succeed. It fills me with pleasure therefore to still be talking about Voodoo Six in 2020, who released their fifth album Simulation Game last month. Originally due to be released back in March, Simulation Game follows fairly hot on the heels of 2017's Make Way for the King (which I reviewed here) - the album which introduced frontman Nik Taylor-Stoakes to the band's fans. In my opinion, Taylor-Stoakes had big shoes to fill. Both of the band's previous singers, Henry Rundell and Luke Purdie, were fantastic fits for the band as it was during their respective eras; but Taylor-Stoakes put on a commanding performance throughout Make Way for the King, ensuring that Voodoo Six lived on. I am not sure I will ever feel as strongly for the band as I did during 2008, when the band played two shows at the White Rabbit in Plymouth and First Hit for Free was a staple on my iPod, but the modern Voodoo Six is still a band that I like a lot. Only bassist Tony Newton and guitarist Matt Pearce remain from the Plymouth bus station days; but four of the five who made Make Way for the King return on Simulation Game. Long-time drummer Joe Lazarus joins Taylor-Stoakes, Newton, and Pearce here, with guitarist Tommy Gentry (Zico Chain; Gun) making his debut with the band on the album's 10 hard-hitting tracks.
In many ways, Simulation Game is the natural successor to Make Way for the King. Each era of Voodoo Six has had its own distinct sound, and with Taylor-Stoakes at the helm the band's third era has certain raw power. The band have probably been at their heaviest under his leadership, but the distinctive songwriting style and bass playing of Newton help to link Simulation Game back to the band's older albums. The Traveller kicks things off in fine style, a classic-sounding Voodoo Six tune with a Sabbathy riff and a sombre guitar lead opening things up - before Lazarus' drums kick in and the song speeds up with a big Pearce riff. Pearce's riffing is another link back to the band's older sound, his dirty bluesy style was always a big part of the band's appeal - especially when it clashed with with the shredding metal of former guitarist Chris Jones. Since Jones' departure, Pearce has been the main focal point of the band from a guitar standpoint; and while Gentry features here, this album is still dominated by Pearce's style. The Traveller could have been on one of the band's older albums however, with a melodic chorus that brings the best out of Taylor-Stoakes while some dramatic strings add depth. There is quite a large string presence on this album, and while this is not altogether new for the band they do seem to have been used in a much more prominent way this time. They help to provide a sharp melodic counterpoint to the song's murky riffing, and they ensure that the album opens with a bang. Gone Forever is a little less in-your-face, with a mid-paced Alice in Chains-esque groove dominating. Pearce and Gentry's interlocking guitar rhythms form a perfect base for Taylor-Stoakes drawling vocals, and as the song progresses the strings once again take on a prominent role - their dancing melodies providing a strong contrast to the murk. One thing that has always characterised the Voodoo Six sound, even before Taylor-Stoakes' introduction, was the looseness of the arrangements. Voodoo Six are not a band that rely on being ridiculously tight, with the looseness of their playing really adding to the overall swagger and groove. It does not matter that the production is slightly muddy and that the vocal harmonies are not always quite on point - as that is part of their grungy style. Gone Forever is a perfect example of this, but with the addition of the classy strings contrasting perfectly with the garage rock beneath. Liar and a Thief is one of my favourite songs here, and it was wisely chosen as the song to shoot a video for. It sounds like a hangover from the Purdie era, and it could have easily sat on 2010's Fluke?. Taylor-Stoakes even seems to be channelling Purdie's snarling vocal style here, and the song is a classic Newton composition with a lead bass presence during a chiming verse that then explodes into a stadium-worthy chorus. It is easily the catchiest song here, and it is the sort of thing that is very likely to go down well when played live. The chorus is packed full of classic Voodoo Six melodies, and the lengthy guitar solo allows Pearce to showcase his loose, but electric style of playing.
Inherit My Shadow is interesting insofar as it is the only song here co-written by Gentry. To be honest, I am still unsure of Gentry's position in the band, as many of the photos that have been posted on social media to promote the album's release do not include him, but he was included in the recent video shoot for Liar and a Thief so I have to assume that he is still in the band! Inherit My Shadow, despite his influence, sounds very similar to the sound of the rest of the album however - meaning that Gentry has already adapted his style to fit in with Newton's. In many ways, the song perfectly sums up the Taylor-Stoakes era of the band. There is a real grungy bent to the production here, but the guitar leads are razor sharp and the chorus is melodic despite its slightly anguishing feel. The guitar solo is a real shredding moment too, so I assume that is one of Gentry's - as Pearce does not usually let rip in quite the same way. If so, and Gentry sticks around, then future Voodoo Six albums could get back more to that clash of guitar styles that worked so well in the past - with Pearce's dirty blues and Jones' metal approach creating an exciting and dangerous combination. Last to Know opens with a string motif, before launching into a menacing, lumbering riff that sets the tone for the rest of the track. It is not the fastest track here, but the mid-paced sound has often been a touchstone of the band's style. In many ways this is another classic-sounding Voodoo Six song, with some of the Purdie-era once again present here. There is slightly less of the grungy heaviness that has characterised the band's more recent work - but the howls of Taylor-Stoakes ensure that the song still sounds at home on the album. His vocal style is perfect for this latest era of the band. He might lack the strange falsetto of Rundell or the southern grit of Purdie - but his distinctive voice suits the heaviness when needed, but also can work well in a more toned down fashion when the grunginess takes hold. Lost is more of a driving hard rocker, at least initially, with a riff that would have sounded at home on First Hit for Free. In fact, songs like I am the Sun and One More Day from that album seem like a bit of an inspiration here - with driving riffing mixing well with more low-key, bass-led verses to allow the band's classic clash of styles to hit home. I have always liked the way that Voodoo Six have been able to make different styles work so well together, and that ability is perhaps alive more so than ever on this album - with Lost being a great example of it, as well as being a throwback to their early days. Never Beyond Repair is the album's ballad. As much as I like Voodoo Six, I do not think that ballads have ever really been their strong point - with the exception of Mistaken from First Hit for Free, which I like a lot. Never Beyond Repair is a decent song, but for me the band are just not really set up for ballads. Their hard rocking songs are already quite mournful, so their ballads just sound like their regular songs but lacking the bite that makes them so good. It is perhaps telling that the best part of the song is a heavier mid-section, that sees Taylor-Stoakes laying down some throat-shredding vocals while the strings go haywire in the background. It is such a contrast to the song's main bulk that it almost sounds like a different tune altogether! It is a decent enough song, but it is almost certainly my least favourite cut here.
Brake gets back to doing what the band do best however, and it might include the best integration of guitar riffing and strings heard on the album yet. The song's main riff is a really killer moment, which is only enhanced by the dramatic and well-chosen string counter melody. I love how the sounds mesh together, and it makes the song sound absolutely huge. This is something that I would like to hear more from the band going forward. In fairness, the strings are already a big part of this album's sound - but this integration of guitars and strings is something that they could build on even further going forward. It makes the riff sound even more powerful when it kicks in following the song's murky, bass-led verse - making it one of the most dynamic-sounding songs here. I also love the turn the song takes about two-thirds of the way through; when a piano joins the fray for a slow-paced, mournful bridge before a fiery guitar solo takes over. Due to all that goes on throughout the song, it is easily one of my favourites here - and the sort of song that I would love to see the band focus on going forward. Control is a bit more back-to-basics in style following the dramatic and, dare I say it, progressive Brake; but the hard-hitting riffs and strutting Taylor-Stoakes vocal performance is all the more primal as a result. In many ways, it is another song that perfectly captures the modern Voodoo Six sound. The gnarly blues-based riffing is as potent as ever, while Newton's rumbling bass is given just enough presence in the mix to give the song some real weight. Newton's bass playing has always been such a big part of the Voodoo Six sound - which is unsurprising as Voodoo Six is his band and he has always been their main songwriter and producer. His playing and energy have always set the band apart from the pack for me, and songs like this showcase his style perfectly - but he always knows the value of a great guitar riff and solo, with both getting ample time to shine here. One Of Us brings the album to a close, and unsurprisingly it is another classic-sounding Voodoo Six rocker - although it is one of the most consistently heavy songs here. As described throughout this piece there is often a mix of styles in each track, with heavy riffing mixed with more low-key verses; but this song is barrelling hard rocker from start to finish - with an AC/DC-esque verse and an achingly heavy chorus with some more of the album's trademark strings. This helps the album to close on a high-energy note; and allows the band one last chance to really let their hair down. Voodoo Six might not be the most traditional sounding rock band, which is what makes them interesting, but when they want to go all out they do so in style. The lengthy guitar solo section here is particularly impressive, with Pearce and Gentry trading leads and licks in fine style, and it is the icing on the cake of what is another strong tune. Overall, Simulation Game is another very strong album from a band that I have been following since close to their original formation. As much as I enjoyed Make Way for the King, Simulation Game feels like a leaner and meaner version of it - with the Taylor-Stoakes era of the band going from strength to strength. There is a lot to enjoy here, and any rock fan who likes their harder-hitting music to be a little more quirky than usual should definitely check this out.
The album was released on 16th October 2020 via Explorer1 Music. Below is the band's promotional video for Liar and a Thief.
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