Written: 18th January 2025
Throughout their career, The Hellacopters have been lauded for their electrifying live performances, gritty musicianship and their ability to blend raw rock ‘n’ roll with melodic sensibilities, earning them a devoted following. Their first album in fourteen years – Eyes Of Oblivion released in 2022 – gained favour from critics and many fans alike (it made the top five in my albums list). Some fans berated the change (or maybe more accurately refinement) in the band’s sound but for others there was enough of the familiar intensity weaved within the nuanced sophistications to maintain a deep interest in the music.
For those not convinced by Eyes Of Oblivion, there may not be too much within the eleven songs and forty-four minutes of Overdriver to change their minds. First track Token Apology harks back to seventies rock with plenty of swagger, hook laden riffs and a memorable chorus. Alongside a wiry, spirited guitar solo, Anders Lindström’s piano adds to the party atmosphere. Don’t Let Me Bring You Down – which has a slightly darker aura than Token Apology - could be the love child of seventies Status Quo and W.A.S.P. and joins the first track in creating an adrenaline-fuelled opening to the album.
Whatever your thoughts about the songs the band have produced since their return, there can be no denying that the sonic template of Nicke Andersson’s other project (Imperial State Electric) has found its way into some of the material here. One example is (I Don’t Wanna Be) Just A Memory - the band’s take on the (post)modern preoccupation with nostalgia - a catchy as hell single that could easily become lightweight drivel in the wrong hands but here has enough balance between the rock ‘n’ roll and power pop influences. Wrong Face On – one of the best tracks on the album - steps up the tempo and the attitude, revealing a little more of the band’s roots in the process.
Soldier On takes a slightly dirtier, more bluesy approach in its delivery but still contains a chorus that sticks in the mind. Anders Lindström is more prominent in places including a short solo and Robert Eriksson (as he is across the album) is his usual dependable self, exploding with energy when required but technical and precise on other occasions. He has the ability to maintain a relentless pace without sacrificing clarity or control. There is some argument that the band trade on familiar ideas - Doomsday Daydreams being a case in point – but it still retains the irresistible appeal and infectious refrain of many a track by the band.
Faraway Looks – among the fastest tracks on the album – rattles and shakes with the fervour of a runaway train, the song opening with a furious burst of percussion from Eriksson. Andersson’s guitar and vocals have more edge and intent than in some places on Overdriver. With a vigorous, potent and enthralling bass line, the track appears to increase in tempo as it progresses until it eventually comes to a rollicking conclusion - a sure fire contender for a place in the band’s live set. Things slow down a little for Coming Down before Do You Feel Normal - particularly during the introduction - ramps up the influence The Who have had on the band. Penultimate track The Stench is the slowest most blues infused song on the album, adding to the variety.
Final track, Leave A Mark - which in places, is redolent of Saxon's Wheels of Steel - opens with a deep throbbing bass line before an indelible riff takes flight, ahead of what may be to many, some extremely familiar lyrics – the opening lines of Springsteen’s Dancing In The Dark. There are other nods to the words during the rest of the track too. The longest track on the album, Leave A Mark musically encapsulates everything else that Overdriver has to offer. A driving, dynamic rocker, it digs its claws into the listener and does not let go throughout.
Much like its predecessor, Overdriver is an extremely well paced album; no song outstays its welcome and it rushes past in what seems like a few fleeting minutes, asking to be played again immediately. Without doubt, some long term fans will point to Dregen’s absence, the band’s maturing sound and the similarities to some of Andersson’s work in Imperial State Electric purely as negatives and will not be swayed in their views, to which they are, of course, completely entitled. However, there will also be listeners who came to the band in recent years, less aware of some of their earliest music and will enjoy the album unencumbered by expectations from the past.
Without doubt, the band do not play with the same grit as they did twenty to twenty five years ago (and any rock band is going to miss a guitarist such as Dregen) but they are now more cultivated, urbane and sophisticated. Anyone expecting an album that sounds just like Supershitty To The Max! or Grande Rock will be disappointed but surely not surprised. To me, Overdriver sounds like a band having a great time, revelling in the now. For those willing to embrace the path the band are forging (frontman Nicke Andersson in particular), this is an extremely enjoyable rock ‘n’ roll album with a wealth of great songwriting and eminently listenable songs. Play it loud!
Overdriver is released on 31st January 2025.
The Hellacopters online