Phil Campbell and the Bastard Sons' 'Kings of the Asylum' - Album Review

I feel that some albums which were released in 2020 have somewhat already become 'lost' in the catalogues of the bands which released them. Whilst there were some of us who were devouring more new music than ever during the pandemic in an attempt to stay sane, I feel that the general mood led to quite a few albums falling through the cracks - particularly for bands who tend to rely on live activity to push their message. For me, the second album from Phil Campbell and the Bastard Sons, We're the Bastards (which I reviewed here), is one such release. The album came out in the November of 2020, which was arguably part of the bleakest season of the whole pandemic, and the lack of live opportunities for the band meant that it somewhat came and went. Even when the band finally managed to get on tour a year or so later, only a handful of songs from the album were included in the setlist - with songs from 2018's The Age of Absurdity (which I briefly discussed here) and cuts from Phil's time with Motörhead dominating. In some ways, I wonder if albums like We're the Bastards are seen in a negative light by their respective bands, too. They are a reminder of times to forget and of missed opportunities - and it must have been very disheartening to put all of that effort into an album and then not be able to properly promote it. It did not help, either, that by the time the band could get on the road their original frontman Neil Starr was no longer a part of the band. Not much light was shed on Starr's departure, but I got the impression from the band's statement that he had been fired. It was a shame to see Starr go, as I thought he added a lot to the band, but it must have been hard to be the only non-family member in a band like Phil Campbell and the Bastard Sons - even as the frontman he was always the odd one out. With Starr out, then, Joel Peters (Bootyard Bandits) was in - and he was confirmed as the band's permanent singer following the 2021 UK tour which had acted as an extended audition. Peters impressed on the tour, so I was looking forward to see where the band would go with him at the front of the stage. Nearly two years later that question has been answered with the release of Kings of the Asylum earlier this month. The band's third album follows nearly three years after We're the Bastards, and it is a raucous album in manner which would be expected from Phil and the boys. We're the Bastards was probably a bit on the long side, and featured a few slower and bluesier songs, but Kings of the Asylum is pretty in-your-face from the off - and feels more like The Age of Absurdity than the previous album. Phil's riffing style is very much well-entrenched at this point - and he and Peters are joined here, as always, by his three sons: guitarist Todd Campbell, bassist Tyla Campbell, and drummer Dane Campbell.

Very little time is wasted with this album, and the opening cut Walking in Circles very much sets the tone for what is to follow. The song's main guitar riff phases in, gradually building in clarity, whilst Dane's drums soon join the fray - adding a percussive pattern early on. The song is pretty hard rocking, but the intro is not as in-your-face as it could be. I like the relatively slow build, though, and it introduces Peters well. He is not hugely different to Starr, but he probably has a bit more grit and attitude in his voice - so he fits the band's established sound perfectly. After the groovy intro, the rest of the song is faster paced - with Tyla's bass rumbling away beneath the rest of the band, whilst the Dane's driving drum beats are full of energy. The opening riff forms part of a later chorus, which has an infectious and simple vocal hook, whilst the verses are generally simple and much more chugging. The first of the album's guitar solos is busy and bluesy, too, filling the energetic song with some additional classic rock strut - and the album proves to be a winner from the off as a result. Too Much is Never Enough also packs quite the punch. It operates in a similar territory - faster than groovy mid-paced but not out-and-out fast - and it is a song which certainly showcases Phil's past with Motörhead. Generally his current band is less intense, but there are of course Motörhead-esque moments which raise their heads. The verses and the main riff here sound very Motörhead, but the chorus is more modern sounding perhaps - with a slight punk edge to Peters' fast-paced delivery. It is the main riff which makes this song for me, though, and the meaty verses are filled with classic Phil riffing - and the track is sure to be a winner if played live. Hammer and Dance ups the pace a little, and opens with a pulsing bass riff from Tyla. Dane's drums are full of early punch, but it is the bass that really sets the tone - with some phased guitars in the background to add some surprising atmospheric depth. Tyla's bass drives the whole song, but the guitars take on more prominence as the band kick in properly - and the verses are hard-driving as a result. The song is the album's fastest up to this point, and this is likely due to the prominent bass playing and the focus on tight grooves. The guitar interplay between Phil and Todd is also tight, and the interlocking riffing keeps the pacy song moving - whilst the guitar solo section sees the pace slowed somewhat, whilst bluesy motifs sit atop something more tempered. The song is very typical of what the band have done previously, and it very much sees the five musicians playing to their strengths. This is no bad thing, and the high-octane riffing is very much welcome. Strike the Match is more of a mid-paced song overall, and the slightly slower approach allows the slab-like riffing to hit home. The bass rumbles away again, pretty high in the mix, whilst a lumbering verse mixes crunchy chugs and ringing chords to create something full of character. There are a handful of really strong choruses on the album, but Strike the Match's is one of the best - with big shout-along hooks and subtle harmonies which makes Peters' voice sound huge. In truth he always sounds big, but the grooves of this song and the approach to the harmonies makes the chorus really pop - and the song is one of the overall highlights for me thanks to this mix of mid-paced groovy riffing and anthemic vocal hooks.

Schizophrenia ups the pace, and very much channels Phil's time in Motörhead in a big way. It certainly feels much more 'metal' overall, with snappy, hard-driving riffing and plenty of fast drumming from Dane. It does not do anything significantly different from what has been heard up to this point, but it is much more energetic overall - and it feels like a song really made for being played live. Peters' voice is right at the centre of the arrangement, and there is a use of gang vocals throughout to make certain lines stand out. The verses sound as big as they do thanks to these gang vocal shouts; whilst the chorus overall feels a bit groovier thanks to the great riffy backing and a few snaking vocal hooks. A breakdown section sees the heaviness drop away somewhat, and more focus placed on Tyla's snaking bass. This part acts as a slightly atmospheric break before the explosive guitar solo section - which is full of energy and shredded leads. The song is another overall highlight for me thanks to this overall mix of ingredients - and the song is another which is sure to become a live favourite. The album's title track follows, and it slows the pace quite considerably. The band have done a number of these slower, bluesier songs on their past couple of albums. I hinted earlier that We're the Bastards had a few of them, but this song is closer to something like Dark Days from The Age of Absurdity. Despite the slower pace the song is still pretty weighty, and the riffing of Phil and Todd has a slight southern rock feel at times - which only allows the bluesy edges to shine, whilst the rhythm section lock in with a slight shuffle beneath them. The song is still pretty anthemic overall, too. The chorus has a simple, rhythmic feel to it which is very easy to sing along with - and it feels like something of a rallying cry amongst the smoky vibes and strong grooves found throughout. Unsurprisingly, this extends to the guitar solo, too, which is more slow-burning here - and is filled with lots of expressive phrases. The Hunt ups the pace again, and the fast-paced piece again returns to the Motörhead well - with a main riff which could have sat nicely on any of the now-defunct band's last few albums. Dane really lays into his double bass drums here, which keep the song moving, whilst the strong bass presence adds a bit of a punky bed for the buzzsaw guitar riffing above it. Vocally the song is not the catchiest here, but the overall energy more than makes up for this - and the short song feels like a bit of a pallet cleanser following the lengthier, slow-burning song which came before. Show No Mercy returns more to the album's core sound, and sounds more like the album's first few numbers than the last handful. It is a pretty in-your-face mid-tempo rocker, which includes a pretty expressive guitar lead during the intro to add something a little different overall, and is built around another strong bass presence and lots of head-nodding tempos. The chorus is another that includes some gang vocals, although they are not as raucous as perhaps they could be. It may have worked better had the band gone all-out during the chorus and making it a real rocker - but as things stand the song is another decent mid-paced rocker in their classic style.

No Guts! No Glory! is similar, although the opening riff feels a bit slower. It seems at first, then, that the track is going to be a bit more lumbering than it actually is - as the piece is another pretty up-and-at-them mid-paced rocker with punchy drumming and snarling riffing. Gang vocals are once again used here, and they feel a bit more potent than the ones on the previous song. In some ways, then, No Guts! No Glory! feels like a more intense and more developed version of the previous song. It certainly has more grit to it, and the louder gang vocals make the song sound heavier overall. There is also a great guitar solo section which sounds like it features sections from both Phil and Todd. This certainly makes the song feel more well-rounded - and the chorus is one of those which hits home after a few listens. It is a bit of a grower, then, despite the big melodies, but it is one of the songs which has impressed more with repeated listens. Ghosts feels a bit more classic rock-inspired overall. The band's trademark crunch is still here, and the song is another mid-paced number, but it just feels a bit looser and more old-school than many of the other tracks here. The drums are less punchy, and have a bit of a swing to them at times, whilst the guitar playing relies more on big ringing chords than razor riffing. The band have done songs like this before, but it is only real example of such a sound on this album - and I like the throwback to bands like UFO and Thin Lizzy which the track seems to be attempting. There are strong blues overtones during parts of the song, and the chorus feels less punk-inspired - with Peters singing with less grit overall. I like the change of pace, and the guitar solo section, which is quite lengthy, certainly feels very 1970s thanks to the guitar tones chosen and the more lyrical approach to note choice. The album then comes to a close with Maniac, which is a return to the band's classic sound - with more than a few hints to Motörhead. Motörhead wrote a few more rock 'n' roll-inspired songs over the years - with Going to Brazil coming to mind. This is a bit like Phil Campbell and the Bastard Sons' take on that sound. There is certainly a boogie vibe throughout thanks to the bounce of the rhythm section - and the bluesy guitar leads which are utilised throughout recall the approach of the rock 'n' rollers of the 1960s. Given the profanity and attitude within the lyrics, as well as the shout-along chorus, the song feels like another one which is likely to become a big live favourite. The chorus will certainly be latched onto by crowds - and Peters' gruff voice brings it to life perfectly. The boogie vibe present throughout also means that the song acts well as an album closer. It has a finality to it, and reminds me of all of those classic 1970s live albums which ended with old rock 'n' roll covers. Maniac works in a similar manner here, and it ends the album on a fun high with some boogie grooves and a shout-along chorus. Three years on from their somewhat forgotten album, then, Phil Campbell and the Bastard Sons are back with a bang, and it feels like a bit of a rebirth after the pandemic and the ensuing line-up change. It is an album which focuses on the band's strengths, and delivers exactly what their fanbase expects of them. It is not an album which is going to surprise many, but those wanting to headbang can do worse than to check it out.

The album was released on 1st September 2023 via Nuclear Blast Records. Below is the band's promotional video for Schizophrenia.