To understand DA and their musical mentality, you have to go back to their roots. Now, although the self-titled album DA is the band’s debut, their founder, Robin Brancher, has been around a long time. He was, in fact, the co-founder of New Wave Of British Heavy Metal (NWOBHM) stalwarts Desolation Angels, along with childhood friend Keith Sharp.
DA – DA
Release Date: Out Now
Words: Steve Kenton
Formed in 1981 and named after the 1965 Jack Kerouac novel, or the Bad Company album, Desolation Angels gigged extensively, not just in the UK but worldwide.
A recent turn of events found Robin Brancher at odds with Keith Sharp, which led to Brancher departing the band and forming DA. Now you would not have to have the IQ of Einstein to work out where the DA name originates from, but make no mistake, this outfit is a very different entity to Desolation Angels as their new album will demonstrate.
Featuring Neil Craddock on bass, Dan Smith on drums, Robin Brancher on guitars and the utterly brilliant vocals of Matt Oakman, this album, which was released on September 1, 2025, is a masterclass in NWOBHM music brought into the 21st century.
When I first heard this album, the first band that popped into mind was the Adrian Smith vehicle, Psycho Motel, especially their second album, Welcome To The World. There are similarities between Matt Oakman and Psycho Motel’s vocalist Andy Makin, and that is most definitely no bad thing.
This album does not feature breakneck shredding or over-the-top high-pitched screams. Every song has been carefully thought out, every word perfectly placed. There is no artistic waste here.
Although a four-piece Tony Crosby’s keyboards are a big feature throughout this album and they fit beautifully.
A brief bit of thunder and the sound of wind-chimes heralds the first track, Daisy Chains. This track immediately surprises you with its power, which belies the gentle opening. The vocals are absolutely awesome. How Matt Oakman reaches some of those high notes within the backing vocals is quite frankly astonishing. He is like the male equivalent of Stevie Vann, who performed the backing vocals on The Rolling Stones Gimme Shelter.
Higher opens with a nice little guitar riff, which features right through the song. This one is definitely a crowd pleaser. You can envisage a lot of crowd interaction with this track. Despite being short and sharp, it hits the spot.
Snake, the third track, is the debut single from the album. With a distinct Alice In Chains vibe, it again gives you a real kick to the stomach and demands to be heard.
Pillars Of Death (Desolation) is up next. Again, with its soaring vocals and gritty guitar-work, courtesy of Brancher, the chord and timing changes leave you slightly off balance. Again, this one will be a great live track and feature a lot of audience interaction.
With its Sabbath-esque opening, Rock It surprises you. Dan Smith’s initial single kick drum and Brancher’s riff-work really drives this track home. It has this don’t mess with me attitude, which is then punctuated by a short but sweet solo. This is what NWOBHM is about, but with that modern twist.
The sound of a choir emanating from Crosby’s keyboards heralds the sixth track on the album, Angels. This is quite an odd track, as the chords after the initial opening should not really work. Yet they somehow fit incredibly well following the initial opening. Lyrically, it’s a beautiful number, a rather unexpected gem.
Forever Enslaved follows with a dark, brooding entrance into the arena. Simple single guitar notes help accentuate the opening keyboards. The unsung hero of this track is Neil Craddock’s solid, punchy, uncomplicated bassline. The backing vocals are stunning, and yet again, the economical Brancher solo really enhances this track.
A bit of double kick-pedal followed by some top-quality power chords introduces the track of the album, Spiralling Nowhere. This is pure power and a real call to the moshpit.
There is a strange section after the first couple of verses where both the guitar and the bass seem to be operating together right near the bridge of their respective instruments. This throws you off slightly before breaking into a rather nice (and necessary) solo. LOVE IT, LOVE IT, LOVE IT.
Devil’s On My Side is the penultimate track and is a straight-up and down rocker. Featuring some nice keyboard work, this is a ridiculously catchy number. This is one that demands to be heard live.
You Gotta Believe is the final track. With a rather dark keyboard opening, it could actually grace the soundtrack of a gothic horror movie (think Nosferatu). Robin Brancher’s guitar kicks in before a vicious drum beat smashes the brooding, melancholic darkness. The bass playing once again, is economical but rather special. It holds this together like audiological superglue.
With chants of “YOU GOTTA BELIEVE IT,” this would make a great follow-up single to Snake.
Incidentally, there is a little surprise after the final number. There is, in fact, an extra track which is not listed on the album. Oh, I do love a hidden track.
Quite frankly, this is an album that is going to be a tough act to follow. It is well produced and mixed, a real work of art. But, if Robin, Matt, Neil and Dan can produce more output like this, DA (and Desolation Angels) fans are going to be rather spoilt.
So, to quote my old friend Krusher Joule, and I’ve had his permission, go and raid granny’s biscuit tin and spend those crinkly bits of paper on this album. For more details, visit dametal.co.uk.
