Vagrant - where all my favorite major label bands go after getting drop only to become less relevant. Not too sure about the opening title track, although many may feel that it's the only song on here breaking new ground. I can almost imagine hearing the exotic and tribal anthem during the first episode of the 3rd season of Sons of Anarchy. "Conscience Killer" follows and the effort screams like the band is desperately trying to give it's fans the next "What Ever Happened to My Rock'n'Roll". "Evol" will help re-attract any retired citations that B.R.M.C. were borrowing too much from Jesus and Mary Chain when recording their debut album back in 2000. In fact, "Evol" is probably the most obvious J&MC tribute that Black Rebel Motorcycle Club have ever done.

"Mama Taught Me Better" is my personal favorite and the one I feel should be the album's next single. I tend the favor songs that feature both the vocal talents of Peter Hayes and Robert Been, and "Mama..." satisfies when I hear Been's snotty slightly baritone snarl hit the chorus. The rest of the album is a treat if you liked some of the filler from Baby 81 or the darker political songs from Take Them On, On Your Own.

I am not going to lie. I've listened to this album non-stop since receiving an advanced copy a few days ago. It should be noted that I am a huge B.R.M.C. fan. However, I am beginning to realize that records like this are for fans only. Ten years after their debut, B.R.M.C. have long driven past any opportunity to reach the level of stardom as former tour mates Kings of Leon. The trio is left at the mercy of hundreds of music bloggers who, like myself, may cease to not be so harsh with their critical reviews. I always felt that most of the indie elite hated B.R.M.C. and not just for their recording deals with Virgin and RCA. It could possibly be because they have always been too loud and not lo-fi enough for a typical shoegazing garage-rock threesome. Power trios with "walls-of-sound" productions are usually deemed more of the progressive type (Rush, Triumph). Although they have walked the line of neo-psychedelic modern rock, B.R.M.C.'s music has tended to be too grey for such a sub-genre that many feel should be complimented with all the colors of a rainbow. There is also an element of maturity in B.R.M.C. that is not found in many indie bands whose faces look they are only a year removed from a picture from their senior high school year book. I am not saying the B.R.M.C. is old, I'm just saying that any comparisons of their music to Jesus & Mary Chain or Love & Rockets is not purely coincidental. These 80s bands were direct influences, not spontaneous finds. It's not the type of maturity that gets a band sentenced to the state of irrelevancy or it's albums to the bargain bin. Rather it’s the type of maturity that gets your music assigned to a Coors Light commercial by your publisher (or, in actuality, a Ketel One advert).

 With a few soundtrack appearances under their belt (including last year's New Moon from the Twilight saga), B.R.M.C.'s only logical agenda now is to make quality music consistently to satisfy the indie die-hards and secure their expected 500-1000 in each American city while comfortably touring once every 2-3 years. Most of their accolades will still come from overseas without barely any effort as Europe will always eat bands like B.R.M.C. up. If that is what is to become, Beat The Devil's Tattoo is an acceptable and promising initial step for the latter phase of B.R.M.C.'s journey.