Bad Wolves – N.A.T.I.O.N. via Eleven Seven
Interview + Album Review
On October 25, 2019 – Bad Wolves released their second full length album, N.A.T.I.O.N. This twelve track crusher demonstrates the band’s ever evolving songwriting and growth. Having been a fan of the first album, 2018’s Disobey, which produced the monster hit ‘Zombie’. The Cranberry’s cover was certified platinum and the album was well received but I wondered how the next album would sound when it was announced it was ready for release.
N.A.T.I.O.N. is a collection of diverse songs that include the brain busting rock songs you’d expect from Bad Wolves. But there’s more than that. There are musical parts of the album that really stimulated my brain outside of the killer guitar/drum combo riffs. For example the bridge/piano breakdown in No Messiah has a superhero movie-like feel to it. It’s a special part in the song and something I keep going back to. Then there’s the acoustic guitars and hand claps in Sober that don’t understate the bands intention of producing what is exactly on their minds. It actually allows the listener to focus into what is happening, lyrically.
Speaking of lyrics. Let’s talk about singer Tommy Vext’s delivery of the lyrics through powerful vocals. Tommy has the gift of a controlled rage and elevates to full out screams when they are needed. But he’s not just a punisher. Vext has that subtle touch that gives the songs an added layer of emotion when the song calls for it. When you combine that over the ridiculous guitar work of Doc Coyle and Chris Cain, it makes for some unforgettable moments. I really like the way they compliment the groove being laid down by John Boecklin on the drums and Kyle Konkiel on the bass guitar. Those moments when all four seem to be in sync, chugging away like a freight train headed down a steep slope are magical. Sounds poetic but it’s exactly the way it feels when I’m cranking it in my headphones.
But let’s not forget why so many fans are here in the first place. The raw aggression in songs like The Consumerist, that has a guitar riff that is among my favorites on the entire album. I mentioned to John that I loved the choice of I’ll Be There as the first song on the record. When I first previewed the album, I had one of these – that’s what the F*%K I’m talking about – moments. It almost sounds like a diesel engine starting up after a long winter.
I asked John about deciding on the track listing and if I’ll Be There was thought of to be the opening song, all along. John tells Sound Vapors, “Oh no, usually we’ll.. it’s always fun when you’re making a record and you’re like, ahh this one here, this could be the first.. Until you have the complete body of work, usually, it’s not always so obvious what the first track on the record should be. But this one, I felt we needed two things for it to be the album opener. One of the heavier’s, is one of the criteria and also something that has the dynamics and shows a bit of our musical skills, if you will. Which I think is important because you want your first song to “throw down a bit”. So that wound up being the one. I’ll Be There sort of encompasses a lot of that. And it’s a good song.”
During our conversation, John and I got into much more about the production and writing process of the album. It was very interesting to hear how Bad Wolves brings it all together. John also breaks down some of his biggest influences on the drums. The first person he mentioned was Lars Ulrich of Metallica. I love the way he explains Ulrich’s approach to songwriting. John says, “I always loved his approach to not trying to be the best but always wrote what was good to the song and took creative turns that were milestones for rock and metal, I think.” I agree with him and I think that falls into John’s cerebral nature. It definitely shows up in the songs, the band produces.
You can hear our entire conversation by clicking on one of the links below to your favorite place to listen to podcasts.
-Tommy Marz
You can follow Tommy on Twitter and let him know what you think.
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