FURY.

Jono moulds checks out the new album from FURY for The Rock & Roll Circus. "Born To Sin" was released on Friday 18th March.

‘Fury’ opens the gates of hell with raucous new album ‘Born to Sin’, released on Friday the 18th of March 2022.

Following on from their 2020 release ‘The Grand Prize’, the band are back with a louder, harder, and faster edge with their demonic-themed new album. Vocalist Julian Jenkins explains:

“Born To Sin has everything you'd expect from a Fury album, from fast energetic rockers perfect for working your neck muscles, to our now traditional (one per album) ballad. And of course, the album is awash with wailing lead guitar, bass and drum solos, big catchy vocal hooks, and an absolute choral feast of backing vocals. Overall, the album has a more aggressive sound, whilst still maintaining all the melodic elements that make us...us.”

The band have turned to darker and more introspective themes, which is unsurprising for an album written and recorded during multiple lockdowns and cancelled tours since Spring 2020. However, there is still plenty of the uplifting energy and excitement that has been present in the band’s previous releases.

Bassist Becky Baldwin discusses the album’s theme

“It felt like our previous album ‘The Grand Prize’ divided opinions amongst the metal community - although the songs have been very popular, the motor racing theme did not connect with everyone. This time around, we have gone back to the roots of metal and opted for badass demonic imagery. We also employ one of the oldest folklores, in our tale of selling our souls to the devil for fortune and fame.”

‘Born To Sin’ features a broader soundscape for Fury, with layered vocal harmonies now becoming an integral part of the production. We hear much more from backing vocalist Nyah Ifill, who featured as a guest vocalist on ‘Upon the Lonesome Tide’ and Road Warrior’ from their 2020 album. The prominence of piano and organ on the album’s only ballad, ‘Shadows and Dust’ takes Fury in a previously unexplored bluesy direction.

Here we go then, another week, another review, and with the opening statement of ‘louder, harder, and faster edge’ we are about to crack open the album with ‘If you get to Hell First’ with my thoughts firmly affixed to some serious ‘metal madness’. Well, it certainly lives up to this description, as we begin all guns blazing – guitar riffs hit hard, drums punctuate, pound, and drive the track forward, and then some. What we have here is the classic tale of making a deal with ‘The Dark Lord’ all in the name of Rock ‘n Roll. As we ‘romp’ through the song, (yes, this has all the hallmarks of metal!!!), there is plenty of melody woven within. ‘Jenkins’ sounding like a young ‘Vince Neil’ as he ‘destroys’ each line before moving onto the next. Quite the start.

‘Nowhere to be seen’ starts off with some great harmonised guitar work (a tip of the hat here to Maiden/Lizzy). This has a much lighter, commercial feel to it, but there is still more than enough musicality hanging off it, that it doesn’t stray away too far from its rockier roots, thanks in main to those twinned guitars and understated riffs that are ‘scattered’ throughout. The chorus has a great hook to it, and this is where that ‘lighter’ side is exposed the most. Very catchy though. A change in key adds further credence to the ‘commercial’ aspect of the song, but this is counteracted by the continuing addition of both great guitar work and explosive drumming. A nice mix of light and dark. Good tune.

‘Next in line’ is indeed next in line, as we are vocally straight into the song from the off as ‘Jenkins’ powerfully states, ‘You think there is no consequence’ After the initial outburst, the song settles down into a mid-paced and thunderous “march’ – and for me, there is a little bit of a ‘Metallica’ influence, both in the sense of the songs arrangement and the way in which the ‘Jenkins’ lays the vocal down (Hetfield-esque in places, especially when he sings the phrase ‘Next in Line’) where there is far more ‘depth and growl’ to it. There is a well-crafted solo at the midway section of the tune, that yet again, has flurries of harmony added that lifts it nicely. A hard hitting and well-constructed tune this.

The eerie sound of a single bell toll signals the start of ‘Hell of a Night’, which outlines the fascination some people have with watching horror films and looking for the thrill of being scared whit less. The songs composition (both lyrically and musically) meets the brief perfectly, where the tunes fast approach is coupled with some classic lines. I especially like the section where the song is strewn and the vocal is lowered almost to a whisper, adding a ‘scarier’ edge to proceedings – clever touch. As we move through the latter stages of the track, there are some noticeable areas to pick out, as ‘Maris’ adds some value-add backing vocals to the tune along with some cracking guitar work carried out. Enjoyed that one.

Is that a bass run to open ‘Who are You’? Interesting start this. Thick sounding guitars enter the fray, with ominous riffs, as we get into the first verse. After the heavy sounding introduction, we get to the chorus which is surprisingly a tad ‘brighter’ sounding but is instantly infectious (The support vocal adds to this, where harmonies are layered and there are plenty of ‘Woah’s’ on offer) and that’s on the initial play – great stuff. Of note, there is some great drumming in parts by ‘Fenn’ which really ‘thicken’ up sections with style and aplomb. An interesting song and I would say it’s my stand-out track so far. Love the dynamics throughout, coupled with some great musicianship.

Some start to ‘Sunrise’, especially by ‘Fenn’ who is let loose on the drums from the off -WOW!!! This has some incredible pace and power to it already. Absolutely no holding back from the band (time to catch my breath – hang on for me boys!!) Verses whip past, without a second thought for anyone who can’t keep up and before you know we at the chorus stage (I think it’s the chorus??)  before you know it. There is a slight respite around two-thirds of the way through as another bass section signals a change in arrangement, where guitars play out some further riffs, that harmonise for a moment before we arrive back from whence, we came. The song finishes at as it started with ‘Fenn’ beating the crap out of his drums – by far the hardest hitting song on the album – time for a break!!!

A succession of thrashing drum rolls presents us with ‘It’s Rock ‘n Roll’ as guitars lay down a ‘Motorhead’ style riff onslaught, which is both fast and heavy – no frills to this bad boy. The song’s story line surrounds the classic journey we’ve all taken, when we were initially indoctrinated into this great genre of music that is ‘R&R’. As we whip through the verse (‘whip’ being the operative word), we quickly meet the chorus, which, as with other examples on the album, features some surprising melodious vocal support, however, it never (even if it tried to) tries to move the track away from its core sound. ‘Fenn’s’ drumming is on another level on this song, as its clear & evident for the full duration, as is the guitar solo, which is played at breakneck speed by ‘Elwell’. There is however a further shocker is in store, as we have a bass solo part toward the final throes of the tune before guitars return and we head toward the exit door. They say that the pace of a track tends to ‘speed up’ when it’s played live, and in my view, I can see this song becoming a standard within their set/live performances, so just how much quicker can they play it!!!! Going to be interesting to find out!!!

A very bluesy sounding piano section and an understated bass form the basis for the next song up, that being ‘Shadows & Dust’. The pace and whole atmosphere are about as far removed from the last track as you could possibly get, but that’s not to pour any scorn over what’s on offer here, as this has its own qualities, that are evident from the off. ‘Jenkins’ raspy vocal style sits comfortably during both the quieter and meatier elements of the song, which ‘rises and falls’ beautifully as we make our ‘sorrowful march’ through the tune. For me, the guitar piece of the whole album appears around the mid-section, as ‘Elwell’ ensures that all his emotion and feel are channelled into making this the standout solo, with great tone and sensitivity combined – brilliant. On par with this, is the further vocal performance of ‘Jenkins’ who surpasses anything that has come before and shows the dexterity that he has, going from metal to blues in the space of one song – impressive. Excellent song.

Drums and bass are the main feature as ‘Embrace the Demons’ rumbles into town. ‘Rumbles’ is about the best description I could use, as this baby is all about the rhythm at its outset. Guitars quickly follow suit, as they join in with the bass line, ensuring that the song is raised up a step with molten metal riffage. Don’t take this the wrong way, but the structure and vibe of the opening section has a likening to ‘KT Tunstall’s – Black Horse and the Cherry Tree’, but far more thunderous in nature. The pre-chorus has a different feel to it altogether, heading toward a more commercial sound, where support vocal and vocal effects play a significant part in this transition, as we run into the chorus with a steady and pacey progression. Things return full circle, as the bass and drums decide they want a little more of the limelight, but alas, there is some ’thought-provoking’ vocal shades and contrast added to ‘steal their thunder’ as things shuttle along. Quite a diverse tune, that has a few distinct sections ‘melded’ betwixt the four and half minutes of the song.

A finally, we have ‘Born to Sin’, and what a start. The superbly timed crash and thunder of ‘Fury’ coming together in unison, as ‘Fenn’ once more, has more energy than a batch of ‘super charged’ Duracell batteries, as he ‘belts’ out a series of drum rolls, before the song really takes shape, and then, he lets loose (like you’d never believe), powering the tune forward at some immense speed and passion. The song is pure Rock and is a great showcase for the album itself, with furiously played power chords, throbbing bass, and some ‘Malmsteen’ style guitar solos that have just about every trick in the book thrown in for good measure. A massively strong song to sign off with. Another sure-fire tune to be added to the live set.

To wrap things up then, it would be too easy to say that what we have on offer here is pure, 100% metal. Of course, we have all the metal traits you’d expect, but there is way more to be found, tucked away in this batch of tunes. Thunderous drums? – ‘OH YEAH’, Blistering guitars? – ‘Certainly’, Hard-hitting bass lines? – ‘Defo’ and Classic sounding metal vocals? – ‘100%’, but ………. There’s more.

I picked up on the great melodies that were embedded within the songs, and the great use of support vocals, plus, we had an immense ‘blues’ tune thrown in to ensure we don’t lose sight that the band have the ability to switch styles, all within the genre that is fundamentally ‘ROCK’!!! Very impressed with this, very impressed indeed.

Review by Jono Moulds

The fourth single ‘Born to Sin’ receives the DIY video treatment, released 11th March 2022.

Album line up:

Julian Jenkins - Guitar, Vocals

Becky Baldwin - Bass, Backing Vocals

Tom Fenn - Drums

Jake Elwell - Lead Guitar

Nyah Ifill - Backing Vocals

Jade Maris - Backing Vocals (Hell of a Night)

Robin Fox - Piano, Organ (Shadows and Dust)

Matt Jones - Lead Guitar (Born to Sin)

Mixed by Pete Newdeck

Mastered by Harry Hess

Artwork by Very Metal Art

Album out 18th March 2022

Purchase album,plus full gig listings and ticket links on www.furyofficial.co.uk

 

Fury 2022 Tour Dates.

More shows TBA

25/03 - Level III, Swindon, UK

31/03 - The Globe, Newcastle, UK

01/04 - The Waterloo, Blackpool, UK

02/04 - Bannermans, Edinburgh, UK

03/04 - UK Bass Guitar Show, Liverpool, UK

07/04 - Hare and Hounds, Birmingham, UK

08/04 - Nambucca, London, UK

09/04 - Komedia, Brighton, UK

10/04 - Sub 89, Reading, UK

14/04 - Cobblestones, Bridgwater, UK

15/04 - The Firehouse, Southampton, UK

16/04 - The Black Prince, Northampton, UK

01/05 - Brixham Pirate Festival, UK

05/05 - The Met Lounge, Peterborough, UK

06/05 - B2, Norwich, UK

12/05 - The Star and Garter, Manchester, UK

13/05 - Ivory Blacks, Glasgow, UK

14/05 - County Music Bar, Chesterfield, UK

20/05 - Fuel Rock Club, Cardiff, UK

21/05 - Boom, Leeds, UK
04/06 - Breaking Bands Festival, Bromsgrove, UK

09/06 - Boardie Takeover, Download Festival, UK

26/06 - Uprising Festival, Leicester, UK

30/06 - Yardbirds, Grimsby, UK

01/07 - SOS Festival, Manchester, UK

16/07 - The Carlisle, Hastings, UK

21/09 - De Cafe Meister, Geleen, NL

23/09 - Rising Fest, Dijon, FR

29/09 - Backstage Rockcafe, Konstanz, DE

30/09 - Club Bastion, Kirchheim Unter Teck, DE