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Thethirdfull-lengthfromBritishrockbandTheStruts, StrangeDayscametolifeoverthecourseofacharmed andfrenziedburstofcreativitylastspring.AftergettingtestedforCOVID-19, singerLukeSpiller, guitaristAdamSlack, bassistJedElliott, anddrummerGethinDaviesallmovedintotheLos AngeleshomeofJonLevine, a producer whoworkedextensivelyontheiracclaimed sophomoreeffortYOUNG&DANGEROUS(includingthealbum’s chart-climbingleadsingle“BodyTalks”).Withinjusttendaysof couch-crashing at Levine’s house, TheStrutshad laiddownnineoriginaltracksandonemasterfulcoverofaKISSB-side: a lean, mean body of work that amounts to their most glorious output to date.“Itwassomuchfuntomakearecordthiswayinsteadofgettingeverythingdoneinbetweentouring, workingwithmultipleproducersinmultiplecountries,” saysSpiller. “Wewerealljustburningtocapturethatexcitementasmuchaswepossiblycould, andattimesitfeltlikethesongswereliterallyjustfallingfromthesky.” Inan organic turnofeventsforabandmassivelyembracedbysomeofrock-and-rollhistory’sgreatesticons—afeatthat’sincludedopeningforTheRollingStones, TheWho, andGunsN’ Roses—StrangeDaysfindsTheStrutsjoiningforceswithaformidablelineupofguestmusicians: DefLeppard’sJoeElliottandPhilCollen, AlbertHammondJr. ofTheStrokes, TomMorello, andRobbieWilliams.MixedbyClaudiusMittendorfer(Panic! AttheDisco, ArcticMonkeys, JohnnyMarr), theresultisapowerhouse album that lifts The Struts’ glammed-up breed ofmodern rock to entirely new and wildlythrillingheights.Kickingoffwithamagnificentbang, StrangeDaysopensonitstitletrack, asprawling and string-lacedduetwithRobbieWilliams. “IwasdoingQuarantineRadioandRobbiehitmeupoutoftheblueaskingifwecouldtalk,” notesSpiller, referringtotheInstagramLiveshowlaunchedbyTheStrutsintheearlydaysoflockdown. “WeendedupFace-Timingforabouttwohoursthefirsttimewe’deverspoken, talkingaboutlifeandmusicandUFOsandeverythingelseyoucanthinkof.Iaskedifhe’dlike to worktogetheratsomepoint, andwhileweweremakingthealbumhegraciouslyletuscomeoverandrecordhimsingingonhisfrontporch.” Despiteitsprescienttitle, “StrangeDays” tookshapefromavoicememoSpillerrecordedontheband’stourbusway back insummer2019.Fusedwithacabaret-inspired interludeSpillerhadrecently dreamed up,thesongultimatelyevolvedintothe perfectvesselforthefrontman’sforce-of-naturevoice: atenderheartedepicthatoffersincrediblesolaceinthe mostchaoticoftimes.SparkedfromaBritpop-leaningriffbrought inbySlack, thealbum’spotent leadsingle“AnotherHitofShowmanship” feat. AlbertHammondJr. centersonanotherpoignantvocalperformancefromSpiller, whodeftlychannelsthetensionbetweengivingintotemptationandrisingaboveyour demons. Afterlayingdowntheinitialversionofthetrack, SpillerreachedouttoHammond, forwhomthebandopenedonaseriesof2018 soloshows. “‘AnotherHitofShowmanship’ remindsmeofbeingataclubnightcalledRamshackleyearsagoattheO2 AcademyinBristol, wherethey’dplaybandslikeTheLibertinesandRazorlightandScissorSisters, andofcourseTheStrokes,” saysSpiller. “IhitupAlbertoutoftheblueandtoldhim, ‘We’vegotthissong, andI’msoexcitedtoseewhatyouwoulddowithit.’ Assoonashegothishandsonit, hetookittoawholedifferentlevel—itreallyjustshowswhyhe’ssobrilliantatwhathedoes.”
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- The most groovy-heavy work yet from The Struts, Strange Daysalso delivers hip-shaking standouts like “I Hate How Much I Want You”: a hot-and-bothered stompergraced with a scorchingguitar solo from PhilCollen and JoeElliott’s high-voltagevocals. Another explosivemoment, “All Dressed Up (With Nowhere To Go)” unfolds in snarlingpower chordsand exquisitelycheeky lyrics (itsopening salvo: “You look like amovie star/On Sunday morning”).“That one’s based around the idea of being in love with your motorcycle—there’s a bit of innuendo to it,” says Spiller, whose own bike inspired the track. “The whole concept of being all dressed up with nowhere to go seems especially relevant the moment.” Meanwhile, “Wild Child” makes for afierce andfilthy anthem, infinitelysupercharged byTomMorello’s blisteringguitar work.And on the beautifully weary“Burn It Down,” The Struts slip into abittersweetmood, serving up a slow-burning ballad that sounds straight from the sessions for Exile on Main St. The sole coversong on Strange Days, “Do You Love Me” findsThe Struts updating a fantasticallysleazy track first recorded by KISS in 1976 and remade in 1980 by Girl (a late-’70s/early-’80s British glam-metal band that, incidentally, featured Phil Collen on guitar). “I was so in love with Girl’s version of ‘Do You Love Me’ and thought the simplicity of it was amazing,” says Spiller. “I wanted to give it an even bigger sound for our album—something way more aggressive, completelyballs-to-the-wall.”In their supremehandling of “Do You Love Me,” The Struts again claim their rightful place in thelineage of rock-and-roll hellraisers. Formed in Derby, England, in 2012, the band quicklydrew a major following with their outrageous live show, and later made their debut with Have You Heard(a 2015 EP whose lead single “Could Have Been Me” hit #1 on Spotify’s viral chart). Before they’d even put out their first album, the band opened for The Rolling Stones before a crowd of 80,000 in Paris and toured the U.S. on a string of sold-out shows. With their full-length debut Everybody Wantsarriving in 2016, The Struts released YOUNG & DANGEROUSin 2018, soon after wrapping up a North American tour with Foo Fighters. Having toured incessantly since their formation, The Struts have also taken the stage at many the world’s biggest music festivals, including Lollapalooza, Governors Ball, Isle of Wight, and many more.As Spiller reveals, the making of Strange Dayswas a period of joyfulproductivity. “EverydayI’dwakeupatabout7 a.m., getthreeventiAmericanosdeliveredtothehouse, goouttothebackyardandsmokeacoupleofspliffs,andlistentothevoicememosI’drecordedatthesessionsthedaybefore,” herecalls. “Afterthefirstfourdaysorsowehitabitofawall, sowedecidedtogetsomebeersinandjuststayinthepoolallday—andtheday afterthatweknocked outthreewholesongs.”Throughout Strange Days, that kineticenergy manifests in the album’s unbridled spirit, an element that makes every track exhilarating.“Ithinkbecausewe’dwantedtomakeanalbumthiswayforyears, allthatexcitementandhungerledtoanimmediatesortofmagiconcewestartedworkingon it,” saysSpiller. “It was undoubtedly a magical ten days for us—and Ihopewhenpeoplehearthealbum, itgivesthematasteofthatmagictoo.”
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