Royal Blood’s Mike Kerr: “We wanted Typhoons to feel like a debut record”

Royal Blood
(Image credit: Mads Perch)

The human body is intrinsically cruel: it’s the tastiest treats that do the worst damage to our teeth, the most exhilarating activities that hasten our decay, and the most euphonious sounds – big, belting rock ’n’ roll riffs – that pose the most risk to our eardrums. Listening to Royal Blood with our headphones cranked to their absolute limits may do wondrous things for our serotonin transporters, but it certainly isn’t healthy for us in the long run. But oh well – you only live once, right?

The first two Royal Blood albums were all about getting heads thrashing and fists pumping – they’re vicious, ultra kinetic nuggets of garage-tinged punk that can turn even the most passive of crowd-dwellers into a bonafide king of the mosh. Especially for a two-piece – one without a proper guitar in their setup, to boot – the Brits did a scary good job delivering volume by more than one definition. And with their third full-length effort, Typhoons, they’ve gone even bigger, boomier and more banger-driven. 

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Ellie Robinson
Editor-at-Large, Australian Guitar Magazine

Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Her bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (where she also serves as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Her go-to guitar is a Fender Player Tele, which, controversially, she only picked up after she'd joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped her see the light…