Midnite City's 'Itch You Can't Scratch' - Album Review

Like symphonic, progressive, and power metal; glam metal is certainly not a genre of music that is generally associated with the UK. While there were a few UK-based glam metal bands operating during the genre's heyday, with Wrathchild and Tigertailz in particular springing to mind, it has generally been a genre that belongs to America. The Sunset Strip scene spawned a whole host of bands throughout the 1980s and early 1990s - but no UK-based band ever reached the heights of the genre's heavyweights. Considering how popular glam metal has always been here in the UK, and how popular it remains, it is somewhat strange that the UK has never had a more viable glam metal scene. As good as bands like Wrathchild and Tigertailz were in their heyday, they could never compete with the big hitters. Even the genre's resurgence throughout the late 2000s and early 2010's was largely led by a wave of young, and mostly excellent, Scandinavian bands - with the UK once again falling short. There have been a handful of newer UK-based glam metal bands forming in recent years; but the one that has captured my attention the most of late is Midnite City. While some may be familiar with the band's frontman Rob Wylde due to his recent association with Tigertailz, Midnite City has always been his main creative outlet. He fronts the band and writes the vast majority of the songs himself; and he has the look to go with it - with his long, teased blonde hair and tight trousers making him the quintessential glam metal frontman. I have only been listening to Midnite City for a few months, but so far I have liked what I have heard a lot. Until recently, my knowledge of the band was limited to their 2018 album There Goes the Neighbourhood, but this changed last month with the release of their third album Itch You Can't Scratch - which is also their first release for their new record label Roulette Media Records. I enjoyed There Goes the Neighbourhood, but in my opinion Itch You Can't Scratch sees Midnite City upping their game in a big way. For one thing, Itch You Can't Scratch is a much shorter and punchier album than There Goes the Neighbourhood. For me, glam metal is at its best when it gets in, makes its mark, and gets out again - and Itch You Can't Scratch is one of those albums. There is very little flab to be found here, with the album's 10 tracks all full of classic glam metal tropes, big choruses, and sleazy grooves. Those looking for originality will not find it here, but those looking for a good time will certainly find a lot to enjoy - with drummer Pete Newdeck's punchy production bringing the best out of the five-piece's sun-drenched sounds.

As with most glam metal albums, Itch You Can't Scratch has a good mix of upbeat sleazy rockers, slightly more AOR-tinged moments, and the occasional ballad. This variety, as well as the album's punchy nature, is partly responsible for the its flow - and why a full listen to the album flies by. The album opens with one of its more summery cuts however, with lead single Crawlin' in the Dirt kicking things off in fine fashion. After a simple kick drum pulse, a catchy, somewhat AOR-influenced, riff courtesy of guitarist Miles Meakin takes over which proceeds to drive the song. Despite the song having a strong AOR vibe, there is still a lot of weight to it thanks to the production. Perhaps unsurprisingly, Newdeck's drums are quite prominent in the mix - his punchy drumming driving everything - while Meakin's guitar tone is nice and thick to bring the band's hair metal sounds to life. Unlike most glam metal bands however, Midnite City often have a prominent keyboard presence thanks to Shawn Charvette. His playing is all over Crawlin' in the Dirt, with a flashy pre-chorus lead in particular standing out. The song, despite some standout moments however, is largely one that just allows the band, and their core sound, to shine. The chorus allows Wylde's hooky voice to take centre stage, while a screaming guitar solo brings the best out of Meakin. While Crawlin' in the Dirt may be a little too summery for some, the band's glam metal credentials should well and truly be secured with the sleazy Atomic - a mid-paced song that is grounded by a snaking Meakin riff and a strong bass presence from Josh Williams. Atomic is a classic glam metal stomper, with bands like Ratt and Warrant well and truly brought to mind while listening to it. Charvette's keyboards help to give the song a slightly poppy edge however, but his playing is not as prominent here as it was during the album's opening cut. His playing adds a subtle atmosphere, but this is a song that is all about Meakin's driving riffs and Wylde's raucous chorus - which is one of the album's most infectious moments in my opinion. Fire Inside, which Wylde co-wrote with Newdeck, slows things down a little after two harder-hitting rockers - and goes for a ballad-esque approach with subtle chugging guitar rhythms and plenty of 1980s-style synth layers to provide an atmospheric backing for Wylde's somewhat more crooned vocals. Midnite City certainly have more AOR in their sound than is typical for most glam metal bands - and songs like this bring Danger Danger to mind with their great mix of hard-hitting glam metal and soaring AOR hooks. Danger Danger are probably the best general comparison for Midnite City's sound in actual fact - and Fire Inside is a great example of why with its lush overall sound and smooth, infectious hooks.

Darkest Before the Dawn ups the heaviness again following Fire Inside's ballad stylings, but there is still plenty of AOR to be found throughout. What I like about Midnite City's sound however is how well AOR and glam metal have been fused together. There are rarely songs that sit purely within one style, even if glam metal tends to dominate overall - which gives the album its great sound. While many of the hooks throughout Darkest Before the Dawn are very AOR-esque, the band always manage to roughen them up a little to take the sheen off. I really like how the band do this, and it ensures that each chorus has a bite to it - despite the hooks throughout. Darkest Before the Dawn is a great example of this, and it is another very memorable chorus as a result. I Don't Need Another Heartache is another more upbeat track, and it opens with a catchy 1980s-esque synth lead that resurfaces often throughout the song. While Meakin's guitar is usually the band's instrumental focus, there are moments where Charvette's keyboards dominate. I Don't Need Another Heartache is one such song, and his playing really elevates the track as a result. Meakin's guitar and Williams' bass, which is also high in the mix, drive the song rhythmically; but most of the main melodic hooks here come from Charvette. Even during the chorus his playing stands out, which is impressive considering Wylde's excellent vocal melodies throughout. Blame it on Your Lovin' is heavier, and returns to the sleazier vibes of Atomic with a weighty guitar riff and a tough drum groove throughout. Charvette's keyboards provide horn section-esque stabs of melody, but on the whole it is a heavier track with plenty of groove throughout. There is a much bluesier approach taken here than on many of the other tracks on the album, and it helps the song to stand out. Meakin's regular guitar leads are packed full of blues phrasing, while a gang-vocal led chorus is easy to latch onto - and again proves what a great singer Wylde is. They Only Come Out at Night, despite opening with twinkling keyboards and a children's choir, is another relatively hard-hitting track - at least in an anthemic sense. It is not an overly-heavy song, but there is plenty of weight to be found throughout still. The main riff, with its wordless vocal refrain, is very Bon Jovi-esque; while the chorus is another hook-laden moment with some more excellent Charvette keyboard melodies. While there a lot of really memorable songs here, They Only Come Out at Night is probably the most anthemic and stadium-ready song here. It is a song that throws everything into the mix, and as a result it sounds huge. Newdeck should be congratulated on his excellent production job throughout the album - but this is probably the song that showcases the album's production off the most. It is a great track, and the hooks are sure to get stuck in the brain after only a couple of listens.

Chance of a Lifetime is a bit sleazier, returning once again to the Atomic sound - but this time with a bit more of a summery vibe. The song's opening reminds me quite a lot of Reckless Love, but the song overall is quite a bit tougher - with plenty of Williams' bass to ground everything. The chorus is another great, catchy moment - but for me the guitar leads and the wordless vocals hooks are the most memorable moments of the song. Meakin often gets to show off throughout the album, but some of the leads in this song are extremely catchy - and are likely to turn a few heads. With that in mind, one thing that I really like about this album is how tasteful all the guitar playing is throughout. Glam metal solos can sometimes be a bit chaotic, but Meakin's playing throughout is very melodic and well-phrased. All of the solos have something to say musically, and his leads throughout Chance of a Lifetime showcase this in a more bite-sized way. If It's Over is another ballad, but takes things a step further than Fire Inside did - as it goes all out. The opening guitar chug is backed by layers of old-school synths, while everything apart from Charvette's piano drops out for the first emotional verse. It is the album's most low key moment, but it works really well to help the song build as it moves along. As with a lot of glam metal ballads, the song really does build up as it goes along. There are layers of harmony vocals throughout the track, and the pre-chorus and chorus both sound huge as a result - with Charvette's keyboards continuing to dominate. There are certainly parallels with songs like Warrant's Heaven, but also a lot of Danger Danger's ballads as referenced earlier. It is easily my favourite of the two ballads here, and I love how the song builds towards it powerful chorus. Fall to Pieces, the album's final song, ups the pace one last time - and returns to the more summery sound that the album opened with on Crawlin' in the Dirt. The two songs are quite similar actually, which is quite fitting as it allows the album to end as it started. Williams' bass is again high in the mix, which really drives the verses forward, while the choruses allow Wylde one last chance to show what a master craftsman of vocal hooks he is. The album however shows that it is not just vocal hooks that Wylde is a master at. With the exception of Fire Inside, all of the songs here were written solely by him. He is a great songwriter, and clearly a great musician - while the rest of the band help to bring his creations to life in a big way. Fall to Pieces is a last great example of the band's power - and the chorus is another that will be stuck in the brain after only a couple of listens. While I have not yet heard everything that this band has done, for me Itch You Can't Scratch sees Midnite City arriving in a big way - and it is certainly my favourite album of the two that I have heard. Every song here is memorable, and it is an album that anyone with even a passing interest in glam metal should listen to.

The album was released on 11th June 2021 via Roulette Media Records. Below is the band's promotional video for Crawlin' in the Dirt.