Thundermother – Dirty & Divine

Recorded live in the studio, the album pulses with raw immediacy. You can hear the sweat in the solos, the grit in the grooves, and yes, the glorious clank of cowbells echoing through the mix. It’s a tight, 33-minute joyride that doesn’t waste a second, and the production; courtesy of Søren Andersen and Chris Laney; is crisp, analogue, and full-bodied. Everything feels miked with intention, giving the whole thing a “you are here” vibe that suits the band’s no-frills ethos.

The album opens with “So Close”, a motivational gut-punch that channels Southern rock swagger with gang vocals and a chorus that feels like Joan Jett giving you a pep talk in a dive bar. It’s got AC/DC’s stomp but with a melodic lift that makes it feel more like a rallying cry than a throwback. That same live-wire urgency carries into “Can’t Put Out the Fire”, a frantic, club-ready anthem that sounds like Thundermother built it fans to scream back at the band from the front row. Think Kiss’s glam meets Free’s grit, with cowbells ringing like warning shots.

There’s a defiant thread running through “Speaking of the Devil” and “Take the Power”, both of which feel like sonic responses to the band’s internal shakeups. The former is the album’s crown jewel; a riff-heavy banger with a pre-chorus that coils like a spring and a chorus that detonates. There’s even a chanted breakdown that nods to Iron Maiden’s “Somewhere in Time” era, adding a layer of theatrical tension. “Take the Power”, meanwhile, trades nuance for fury. Linnéa sounds positively feral, and the rhythm section drives the track like a runaway muscle car. It’s punky, punchy, and cathartic.

On the lighter side, “Feeling Alright” and “I Left My License in the Future” offer a playful reprieve. The former is breezy and staccato, with a vibe that’s part Joan Jett sass, part Bowling for Soup cheek. It’s catchy without being cloying; a sunbeam in leather pants. “…License…” is pure chaos in the best way: a thumping bassline kicks things off before the guitars dive into shuddering crunch. The lyrics are cheeky sci-fi nonsense, the chorus is explosive, and Filippa’s solo is pure vintage swagger. It’s the sound of a band having fun and letting their freak flag fly.

Then there’s the soulful undercurrent that runs through “Dead or Alive,” “Can You Feel It,” and “Bright Eyes”. “Dead or Alive” slows things down with tremolo-heavy guitar and smoky vocals, evoking the bluesy melancholy of early Gov’t Mule. It’s restrained but emotionally rich, lifting into classic rock territory with a chorus that aches. “Can You Feel” It is a stomper with soul; imagine Whitney Houston fronting KISS at a house party. The groove is clappable, the chorus built for crowd chants, and there’s a subtle country-rock twang that sneaks in under the distortion. “Bright Eyes”, despite its misleading title, is all lust and swagger. The “We Will Rock You”-style intro sets the tone, and the mid-tempo groove makes it danceable without losing its edge. It struts, it smirks, and it seduces.

Closing out the album, “American Adrenaline” goes full glam. Driven by a train-beat snare straight of off Sweet’s “Ballroom Blitz” and glam riffs played by Motorhead, it’s a love letter to El Paso, Texas, and a perfect curtain call. It ends the record with a grin, a wink, and a fist in the air.

Dirty & Divine isn’t trying to reinvent rock; it’s trying to remind you why it still kicks ass. It’s a celebration of the genre’s loudest, proudest tropes: cowbells, gang vocals, big riffs, and bigger choruses. The new lineup brings fire and finesse, and while the album stays close to its hard rock roots, it’s got enough personality and conviction to feel fresh. If you’re into AC/DC, The Runaways, or just want to hear a band sound like they’re having the time of their lives, this one’s for you.

Released: February 7, 2025 Label: AFM Records

Produced by: Søren Andersen & Chris Laney