Royal Blood
– Typhoons
On Typhoons, Royal Blood ditches their previous minimalist, bass-heavy formula and embraces a brighter, more electronic-infused landscape—no longer just a two-piece juggernaut of fuzz and thunder, but a band that’s evolving, maybe even experimenting (as much as they’re willing to). The result is an album that feels like the product of both a post-pandemic push for reinvention and a curious attempt at honing something more rhythmic, almost disco-fied at times, all while maintaining their gritty edge. And, surprisingly, it works. It’s slicker, sure, but it doesn’t lose its punch. If anything, it gains swagger.
The bass still leads the charge, but there’s a new breed of groove here—less raw power, more structured chaos. They make the switch from sheer force to a mix of glossy hooks and pulsing synths, and while it’s less “grunge garage,” it’s all the better for it. The production is cleaner, more polished, yet still carries that primal sense of aggression. The rhythm section drives things in a way that’s more hypnotic than just “loud.” The layering feels dense, yet not overstuffed—there’s room to breathe between the beats, and it makes you want to move, even when you’re unsure why.
Lyrically, the band isn’t reinventing the wheel, but they’re making the wheel feel fresh again. It’s all about conflict, introspection, and the occasional bit of self-sabotage. But there’s a sense of purpose here, even in the most chaotic moments. The self-reflection is more in tune with the times—a “how did we get here” sort of vibe that feels universal. It’s a musical reset, with their evolution as much about the sound as it is about the identity they’ve cultivated and are now, somewhat reluctantly, ready to expand.
Choice Tracks
Trouble’s Coming
A full-throttle blast that practically pulls you out of your seat. The single is exactly what you expect from Royal Blood—tight, punchy, and addictively rhythmic. The bass slinks and thumps with menace, while the chorus feels like an explosion you didn’t see coming. There’s nothing subtle here, but that’s why it works.
Typhoons
The title track delivers with an infectious, driving beat that somehow feels both urgent and breezy. It’s packed with more groove than their earlier stuff, with a chorus that hits like a good pop song (in the best way). It’s the type of track that demands attention, but doesn’t shout for it—it just holds you captive.
Who Needs Friends?
A swaggering number with a hook that could fuel stadiums. The production here is pristine—synths bubble underneath the thick bassline, giving it a danceable, almost New Wave feel. Lyrically, it’s a self-aware bit of spite wrapped in a groove you can’t shake off.
Million and One
A shift in gears, and it works. Slower, darker, with a tension that builds instead of unleashing. The chorus is lush, but it carries a deep sense of yearning. It’s a rare moment of introspection, and it’s damn compelling to hear the band tap into that mood.
All We Have Is Now
The closer, and it’s a beautiful mess. The song rises like an emotional storm, full of swirling guitars and building anticipation. It’s less about the immediate gratification and more about the catharsis. It’s the perfect encapsulation of their shift, both sonically and thematically.
Typhoons isn’t just an album—it’s a statement. Royal Blood has made the leap from loud and rebellious to refined and restless. And while they’re still figuring out the balance between chaos and polish, they’re absolutely nailing the fun part.