Mirrors opens with the Smiths-like “The Mirror,” chiming acoustic guitar and a harmonica right out of Johnny Marr’s mouth. The instrumental track cranks up the volume a bit more than a Smiths tune, but the gist is there, the kind of instrumental that Morrissey kept Marr, Rourke, and Joyce from writing too often.
U.S. Royalty’s “The Mirror” leads right into the bluesy swagger of “Hollywood Hollows,” taking the band on a comparison ride through the Black Keys, 22-20s, and classic Blues Rock from the 70’s.
Yet, what clearly keeps U.S. Royalty from becoming a repeat of bluesy rock is that by the third track, we’re channeling other sources for the sounds. “Monte Carlo” opens with gentle, acoustic strumming akin and then an electric wave akin to the Church’s Starfish. Meanwhile, as the track hits its mark, beyond the 70’s comparisons, there’s something similar to Big Country—if you listen to more than “In a Big Country,” where the band really opened up to anthemic band rock. That Big Country feel continues on “Equestrian” with its harmonized vocals about “coming down from the mountain” and its big drums working a European tribal feel on the fills.
Other elements also appear on Mirrors, reflections of other inputs into this band’s aura. “Vacation Vacation” feels drawn from the twang rock of These United States, Romany Rye, or the Delta Spirit. “Give Up the Ghost” comes at the Blues Rock through a Country Blues opening that swaggers with a bit of twang and dust from the Great American West. The album closes with the acoustic “Voice Memo,” a plaintive tune with similarities to how the 22-20’s can pull back for a mesmerizing, folky contemplation.
Mirrors is out on January 25.
