Album Review – Judas Priest “Redeemer of Souls” 2014

  When you’ve been in the business as long as Judas Priest, you have an opportunity to reflect upon and work with your longest-standing musical influence: yourselves. And so it is that Redeemer of Souls looks back and well as forward, ending up sounding Judas-Priesty as all hell, and all the more enjoyable for it. The overall feel is the same as what we’ve come to expect post-Painkiller, but there are also bluesy bar-rock riffs on the record that would be at home on Point of Entry, Killing Machine or even British Steel. It’s self-homage without resorting to self-plagiarism (one notable exception is the title track, which is essentially a reboot of “Hell Patrol”).

New guy Richie Faulkner admirably fills the K.K. Downing-shaped hole in the wall, matching Glenn Tipton’s dignified grace and power on the trade-off solos. He’s also heavily involved in the songwriting, which may turn out to be a secret weapon for the band. Having grown up outside the Priest bubble, he’s been listening to the competition. To wit, there are Maidenish touches here and there, especially on “Sword of Damocles”, which is a straight-up Brave New World-era Iron Maiden song that JP appropriate with aplomb.

One elephant in the room: the time of the Rob Halford shriek would appear to be over. We all knew this day would come. Halford does access his falsetto, but it’s during quieter moments, and when he does rage out it’s carefully and gently cradled by the mix and quickly spirited away as if to say “Nothing to see here; move on”. Considering he still has one of the most dynamic ranges around, and his midrange is passionate and full of power, it would be churlish to ask for more.

Be at ease, metalheads. It’s twenty-freaking-fourteen, Mark Wilkinson has yet to tire of painting messianic figures aflame under violet skies, and Judas Priest have gone back to the well to draw forth an album which will be the envy of bands half their age. 8.5 out of 10

Album Review – Lacuna Coil “Broken Crown Halo” 2014

  After the somewhat-misunderstood pop stylings of The Shallow Life and the near-perfect synthesis of that with their core competencies in Dark Adrenaline, Lacuna Coil wisely decide not to try to top themselves, and so take a trip down memory lane instead. Broken Crown Halo is a more direct descendant of earlier records like Comalies or Karmacode, containing all the elements for which the band is known; the duet vocals, the oddly-admirable tenacious loyalty to the nu-metal bass guitar sound, the lush instrumentation. They’ve been working hard to expand their core sound for years now, so I think a momentary retreat and regroup has no shame in it at all.

You pretty much know what you’re getting here. If you’re a fan of the band, rejoice. It’s not broken so it didn’t get fixed, and Cristina Scabbia’s Instagram account remains as fetching as ever. 7.5 out of 10

Album Review – Mares of Thrace “The Pilgrimage” 2012

  Any fans of Death From Above 1979, Rush or even Danko Jones know that we Canadians have so much angst in our souls that it only takes a couple of us to create a full-sized rock band. Mares of Thrace bear out this theory on The Pilgrimage, with only two young ladies on drums and baritone guitar making a hellish and compelling amount of noise.

Sonically, the album bears a good deal of resemblance to other prog/sludge acts like Baroness, with abrupt time changes, whisper-to-scream vocals and lyrical paeans to the uglier side of human nature (in the case of The Pilgrimage, the narrative framework is the story of David and Bathsheba).

Mares of Thrace will be ones to watch in the years ahead. Any band that can tour in a minivan and still have their own driver has the opportunity to cultivate a fanbase nationwide and beyond. 8 out of 10

Album Review – Amon Amarth “Deceiver of the Gods” 2013

  When Metallica followed up Ride the Lightning with Master of Puppets, an album that is virtually identical in terms of structure and songwriting, I don’t recall anyone at the time getting butthurt about receiving more of a good thing.

Why, then, is Deceiver of the Gods getting flak for its lack of forward momentum and the band’s entirely sane decision to not go about fixing the unbroken and popular sounds they’ve achieved of late? Personally, I look at it this way:

Twilight of the Thunder God = Number of the Beast; the definitive and instant classic.

Surtur Rising = Piece of Mind; the longer and more confident follow-up. Less oomph, but definite quality.

Deceiver of the Gods = (you guessed it) Powerslave; a top-of-the-game album. Safe choices, very clean production.

It’s a fun record with all the chops you would expect and influences written all over it. It has a Priest’s worth of double harmonies and a heck of a lot of old-school thrash. “Blood Eagle”, in particular just screams Kreator. I highly recommend the deluxe version, which includes an EP of original tunes written (absolutely perfectly) in the style of Priest, AC/DC, Mötorhead and Sabbath. Johan Hegg’s Ozzy impersonation alone is worth the price of admission.

If these past three records are where the Amon Amarth wants to plateau, I have absolutely no problem with camping out a while. Let’s just hope my Maiden analogy goes no further. 8 out of 10

Album Review – Black Sabbath “13” 2013

  We live in a world with several fantastic Black Sabbath records, some indifferent ones, and a couple of complete dogs. With the arrival of 13, it would be easy to simply slot this reunion effort somewhere in the middle, say “good job”, slap these rapscallions on their wrinkly behinds and call it a day.

Not so simple. After a couple of listens, 13 is banging on the ceiling, perhaps even clawing at the podium. It’s a lusty, robust metal album by anyone’s standards, and a pretty great Black Sabbath album to boot.

Some folks have complained about overproduction, which is admittedly an unfortunate fact of life these days. I think in the case of 13, these people fall into two categories: those who a) have apparently never heard Death Magnetic and b) are still mad about Death Magnetic and want to blame all of the ills of the loudness war on Rick Rubin. This album shows tremendous restraint on Rubin’s part –  he stays the hell out of the way and lets Sabbath be themselves. Sure, he’s done the audio equivalent of whatever they used to do to Elizabeth Taylor’s photographs to Ozzy’s voice so that now the old dodger sounds stronger than he has in years, but so what? Iommi is speedy and vital as well, and Geezer in particular wields his instrument like a weapon against entropy.

The record is heavy as shit, sounding like a cross between The Devil You Know and something that was supposed to come out right after Volume 4. Long songs, stark and simple lyrics (“Alright now” makes an appearance) are kept afloat with massive, wobbling riffs that nobody else on the planet can create. Enjoy Tony while you can, we may never see his like again.

For various reasons (candidly discussed by the band in the liner notes) we almost didn’t get this record at all. The fact that it clawed its way into existence at all is amazing. The quality is the icing on the cake. If it’s all we get, it is a fitting coda to Sabbath’s long and tumultuous career. This 13 is lucky indeed. 8.5 out of 10

Album Review: KMFDM “Kunst” 2013

  Like Zeno’s Arrow, KMFDM have been making each album for the past decade or so just a little bit worse than the one before, like an infinite series that never quite hits bottom.

Kunst comes closer than ever.

I’m a long-time KMFDM apologist, loving their if-you-don’t-like-it-you-don’t-get-it BS approach  to faking it until you make it. But this is getting tired. The band kicks things off with the title track, a KMFDM standard constructed lyrically from bits of random doggerel and the band’s own song titles through the ages. They do this every damn time, and the only new bit of life in “Kunst” is a throwback joke to the ancient controversy over the group’s mysterious name.

After that, things just kind of meander. The bands political hearts remain in the right places on “Pussy Riot”, and there are some interesting collaborations with the Morlocks and William Wilson (no surprise, allowing guest artists to steal the show is one of Sascha K’s better qualities) as well as “I ♥ Not”, a tale of obsessive love with samples by toddler Asia Konietzko. That’s right, it’s a family business!

A sausage factory entry from a band that can be angry, silly, audacious and infuriating, Kunst tries a bit of unwise unfamiliar territory by daring to be dull. 4.5 out of 10

Classic Album Review – Judas Priest “Point of Entry” 1981

  Poor old Point of Entry. This oft-overlooked and even more often maligned record gets a hard time for being the most un-metal of Priest’s efforts since Rocka Rolla. To be sure, the entirety of the album’s second half is filled with the Thin Lizzy style boogie rock that nobody wanted the band to prove they could still play.

But there’s so much more to the story. The opening track “Heading out to the Highway” has become a staple on both classic rock radio and the concert stage, and deservedly so. “Desert Plains”, while a bit of a sleeper, showcases the album’s excellent drum production, which often elevates the material. And let’s not forget “Solar Angels”, a wall of  Hawkwind-approved pedal-effect psychedelic riffage that really displays the good side of the experimentation that was happening in the studio at the time.

I will concede that “Don’t Go” is a strange single choice, and that “Turning Circles” is a piece of pure pop idiocy (which still manages to get airplay in my  home more often than I’d care to admit).

However, before we close the book on Point of Entry we must mention “Hot Rockin'”. Consider the video:

Come, on, people! It’s got cutty vests, air guitar and flames! It’s fast, ballsy and a little bit gay. Sounds like metal to me.

Maybe folks Stateside would have warmed to the album more if they hadn’t tampered with the original Brit cover:

   Better, ain’t it? A perfect metaphor for the record itself, wrongly perceived and better than it appears.  7 out of 10

Album Review – The Sword “Apocryphon” 2012

  I often refer to The Sword as “Stoner metal so good you don’t have to be stoned for it”. Unfortunately, with the release of Apocryphon I may have to revise my opinion and reach for some chemical enhancement, as for the first time their output is merely mortal.

All the ingredients are present, but the mixture doesn’t seem to soar quite like before. Previous records have arrived via frothing steeds, the chariots of thunder gods and sleek starships, but Apocryphon sort of plods along, pedestrian in the literal sense. Single “Veil of Isis” has some swing to it but it’s no “Fire Lances of the Ancient Hyperzephyrians”. Oddly enough for such a riff-based band, some of the more rollicking moments are on “Execrator” and the title track, where the band pull out the synthesizers and party like it’s 2112.

Still miles better than many records of this ilk, Apocryphon nevertheless falls a bit short of the heavy-rotation status of its predecessors. 6.5 out of 10

Album Review – Dethklok “Dethalbum III” 2012

  In online discussions about Metalocalypse I’m always troubled by the number of folks who claim no interest in the show, but call themselves Dethklok fans.* I disagree; in fact I think the exact opposite: I’m a Dethklok fan only insofar as I’m a Metalocalypse fan. I don’t really judge the music against other metal bands because a) it’s a satire and b) the band doesn’t actually exist. For me, the albums are good when they serve the needs of the show, and that’s the reason I loved the hilarious excess of Dethalbum while the sequel left me cold. Fake bands shouldn’t make real records, no matter how skilled the masterminds might be, lest it ruin the joke.

Dethalbum III splits the difference, producing ridiculous treats “I Ejaculate Fire” and “Crush the Industry” alongside “real” Dethklok tunes “Skyhunter” and “Rejoin”. Nathan Explosion is back to sounding like himself (a bone I had to pick with the second effort) and still lyrically obsessed with Deth, gore, and his fear of female genitalia. Production and musicianship are as solid as ever.

I’m sort of pissing into the wind here anyway; if you have any connection to Metalocalypse you’ve heard this record already. It’s good when it’s good, and better when it’s not afraid to be as dumb as its own premise. 7 out of 10

* Same dudes call Arch Enemy “derivative and generic”. Putting that assessment aside for now, am I alone in thinking that Dethklok’s guitar sound is heavily based on AE? Besides, Skwisgaar and Toki are the Amott brothers, no doubt about that.

Album Review – Danko Jones “Rock and Roll is Black and Blue” 2012

  There’s merely more of the same and then there’s heck yes more of the same. Danko Jones have never been ones to reinvent a properly spinning wheel, but whereas 2010 effort Below the Belt seemed a little bit tired, Black and Blue attacks the same ideas with a touch more pep. Perhaps it’s the inclusion of new blood behind the skins with Atom Willard, or maybe the fresh attention the band is getting from docu-pic Bring on the Mountain. I’m not going to speculate, since the Danko Jones ethos discourages over examination in any case.

Thematically, things stay pretty close to home. Danko the man likes women and their constituent parts “Legs”, this horndog obsession is a blessing and a curse “You Wear Me Down” and “Terrified”, and he intends to outlive his enemies “Conceited”. Pick up the expanded version for bonus track “In Your Arms” and the most Danzig of caterwauls you’ve heard all decade.

Energized and friskier than we’ve heard in a while, Rock and Roll is Black and Blue puts another solid volume into the Danko Jones library. Heck yes. 8 out of 10