At the end of 2021, the Danish heavy rock band Timechild released their debut album “And Yet It Moves”, and received top reviews and big praise from all over the world. Now the band is back with their new single and video “Son & Daughter”, where they have dug deep into their inspirations of the past and have reinterpreted this underrated and slightly atypical treasure from Queen’s first album from 1973. It is a song that fits perfectly with Timechild’s sound universe with a powerful and soaring lead vocal and characteristic twin guitars and vocal harmonies. From: https://mhf-mag.com/timechild-cover-queens-son-and-daughter-in-new-video-and-single/
As much as I enjoy having a feeling with my favorite moody sludge, or letting out that single, definitely masculine tear down my cheek with a beautiful progressive concept album, an urge persists for the thrill of the arena-sized riff and rattle of proper heavy metal. You know, the kind of stuff that makes you feel like you’re a pitch down when you’ve only had a pint, or allows you to imagine your engine revving with the force of at least twice its listed cylinder count.1 Timechild knows this feeling, and with their 2021 debut And Yet It Moves, they presented a solid, proto-metal-inspired outing—your Deep Purple, Rainbow, UFO, and related acts—with focused musicianship and a voice that knows how to soar.
Continuing down their chosen path, Timechild takes the feel-good sounds of hard rock past and fuses a modern-looking, 00’s radio melancholy to form their own brooding yet bolstered identity. Cuts from Blossom & Plague don’t feel far away from the T-injected dad jams of a band like Tremonti or the soulful and virtuosic AOR thump of Winery Dogs, but this unheralded Danish act plays without a notion that bands like that even exist. Hungry and targeted, Timechild instead comes off holding homage as a tool in the kit, reminiscent of fellow Scandinavian throwback act Audrey Horne. And similar to that act, one founding member, Martin Haumann, has spent much of his career far outside the trad circuit, helming the kit for the techy, thrashing Mother of All and the folky, atmospheric calls of Afsky and Myrkyr. Unfitting pedigree—and the unlisted talents of his bandmates—aside, Timechild supplies a bluesy swing and rumble (“Call of the Petrichor,” “Buried in Autumn”) that matches a band that sounds as if they’d been playing for far longer than three years.
Lead vocalist Anders Folden Brink immediately glues the experience together with his warm, gritty baritone croon. Truth is, though he’s uncredited in the metal world, Brink spent some years prior to Timechild with SEA, who boasted a less propulsive but equally rock attitude as this entity. No surprise, he shines there too, but Timechild has allowed him to lay pipe across sneaky, cutting riffs in a junkyard metal fashion (“The Dying Tide II,” “Hands of Time”)—feel good tunes held out with calloused hands. With the spectacle and machismo of peak Coverdale-Whitesnake, and backed by the kind of dark vocal layering pioneered by Alice in Chains, album highlights “Call of the Petrichor” and “Only Our Shadows Remain” see Brink both calling wildly for a stadium-sized crowd to holler yet towering above them at his most dramatic moments. From: https://www.angrymetalguy.com/timechild-blossom-plague-review/
