RANDY RHOADS whose knack for melodic song writing and stunning neo-classical lead guitar style revolutionized metal in 1980s, died tragically thirty years ago today. Rhoads (December 6, 1956 – March 19, 1982) died in a plane crash while on tour with OZZY OSBOURNE, but he has left an indelible mark on generations of musicians to follow.
Rhoads who had been an early member of QUIET RIOT shot to fame when he auditioned for the guitar spot in OZZY OSBOURNE’s band THE BILZZARD OF OZZ. The combination of the soft spoken, but immensely talented Rhoads and Ozzy who felt he had to prove himself to the world after his dismissal from BLACK SABBATH was potent and changed the face of music. Rhoads is always remembered as a terrific lead guitarist and was often compared to the best players of his day like EDDIE VAN HALEN. However, equally important as Randy’s impact as a soloist was his legacy as a songwriter, his use of classical modes and his widespread use of major scales in rock and metal that had predominantly been full of brooding minor keys and old-style pentatonic blues riffs up until that point. He also helped innovate an popularize several styles and looks of guitars with his polka-dot Jackson Flying V’s. Although he is best remembered for songs like OZZY hits “Crazy Train”, “Mr. Crowley” “Suicide Solution”, “Over The Mountain” and “Flying High Again” most of his output, however brief is excellent and worthy of repeat listens.
Popular guitar players who have been influenced by Rhoads such as the late DIMEBAG DARRELL, ZAKK WYLDE, Phil Demmel of MACHINE HEAD and a host of metal lead players from the 80s and 90s used to and still do sing his praises. Although his music is among some of the most popular in the genre, you can still hear examples of his reach in many modern bands like ARCH ENEMY, REVOCATION, ANIMALS AS LEADERS, MASTODON, OPETH, BETWEEN THE BURIED AND ME, JOB FOR A COWBOY, THE AGONIST, CHILDREN OF BODOM, WARBRINGER, ICEDEARTH, DECAPITATED, ALL SHALL PERISH and THE FACELESS among many, many others.
It’s been quite a busy few years for ANTHRAX. Between the killer Worship Music album and non-stop touring the world; the band has maintained a hectic pace. Originally conceived as a second disc for a deluxe edition of Worship Music, Anthems is mostly made up of inspired 1970s classic rock covers and a couple of remixes. It’s actually the band’s first EP in almost 23 years, since Penikufesin in 1989. For an EP that was recorded all over the world in hotel rooms, backstage green rooms and tour buses; it sure sounds good. ANTHRAX has always done covers almost every album cycle, going back to the Fistful of Metal days. Even “Bring The Noise” was conceived of as a cover before featuring PUBLIC ENEMY on the ground breaking corroborative track and video. The reason the band has done well in past with covers, is their eclectic taste in bands. Anthems continues the trend.
Kicking things off with RUSH‘s “Anthem”, the entire band is heard sounding really inspired. It is no small feat to cover RUSH, let a lone do them justice, but they pull it off. CHARLIE BENANTE and FRANK BELLO in particular play with a lot of passion and respect for the original parts. Benante even slips in a few clever drum fills from “A Passage to Bangkok” a few times and I can’t help but smile every time I hear them. JOEY BELLADONNA, following up his Worship Music performance, sounds phenomenal. His range in line with GEDDY LEE‘s own unwieldy voice at times, but a lot smoother. “Anthem” is easily the best track on the EP.
This is one of the alternate covers that comes with the CD.
I am a huge THIN LIZZY fan and I’m always bummed when I meet people who only know the band from their considerable hits, and not the rest of their catalog. Having already covered the TL minor hit “Cowboy Song” in the 1990′s, I guess I can’t complain about a fairly standard cover of “Jailbreak”. More great vocals from Joey and strong solos from the now departed from the band ROB CAGGIANO (VOLBEAT). Lots of groups have covered AC/DC too, and done so badly I must say. If you are gonna cover a song by a hugely popular band you should a) recreate the song in your special way or b) do a version faithful to the original. ANTHRAX does a pretty standard version of “T.N.T”, but it is still a lot of fun. Belladonna will shock you at how much he sounds like BON SCOTT on the track. Caggiano kills it on the classic guitar solo. I also like Bello’s finger-style bass playing and tone here too. Then the band goes back to the more adventurous territory. BOSTON is always a fun band that you don’t hear covered a lot, because they were insanely accomplished players. “Smokin’” sounds great and the band brought in legendary keyboard player FRED MANDEL (ALICE COOPER/QUEEN/PINK FLOYD/ ELTON JOHN/SUPERTRAMP) who did a terrific job. CHEAP TRICK is another underrated band historically, who balanced pop music with great chops. “Big Eyes” is another atypical choice of song to cover. It is more gritty and less polished than a lot of that bands’ better known material and sounds really fresh here. Then there is the JOURNEY cover. Sigh. I know I am in the vast minority, but I hate JOURNEY and I always will. That being said, the cover of “Keep On Running” is another clever choice, instead of choosing a huge hit, which might have grated on my nerves. The EP closes with two remixes of the album track “Crawl”, the second one being really interesting for its re-casting of of the motifs and pastoral sounding backing vocals. The artwork sounds cool too, conceived by Benante and artist Steven Thomson which promises an ANTHRAX “take” on the artwork of the original bands that were covered. This will be worth buying for Joey’s performance alone, fans of the band, complete-ists, and collectors too.
Another stunning masterpiece album cover by John Baizley.
Another of the most anticipated albums of 2012 dropping this summer is by BARONESS. I have been a huge fan of the band since before they were popular so I will admit I have been excited for this album like a little girl getting a pony on her fifth birthday. After 2009′s Blue Album blew up and catapulted them to the top of every taste makers lists (it ranked #2 for me that year, by a nose behind MASTODON’s Crack The Skye), I didn’t have to rave about this band that few knew about anymore. Usually two things happen when a band reaches this level: they plateau and disappoint or they rise to the occasion and deliver a masterpiece. Rest assured, BARONESS has done the latter and then some.
With a sweeping double album, Yellow and Green has continued the journey the band has been on for several albums. Although the songs are still full of spirit and vitriol and packed with Olympian guitar work, musically the band has moved away from metal and potatoes Sludge influenced Prog-rock. What they have done is transform their sound, without constraints and wrote flat-out brilliant songs. They may lose some long time fans in the process, but similar to MASTODON and OPETH, this has been a long time coming. Some songs rage and others ebb and flow gently. All of them have a character and a soulfulness lacking in a lot of today’s music. Tiny details, amazing little bits of genius carefully put into the tracks that make each listen more rewarding. It is the sound of a band fully gelling, although defined and led by John Baizley’s creative fire
Yellow… is the more uptempo and rocking side of the two, but not in strict terms. After “Yellow Theme” sets the table as many BARONESS records have done before you have the rollicking singles like “Take My Bones Away” and “March To the Sea”. Without the use of metals’ clichés of over-driven amps and palm-muted chords, these songs stand on their own, and still damn heavy. Still, the beauty of the album is in mellower, but deeper cuts like “Little Things” and “Twinkler” that will be a treat for your ears and heart. Heady and emotive like all the greats: QUEEN, THIN LIZZY, late-era LED ZEPPELIN or early psychedelic-era PINK FLOYD, these albums took you on a mental journey into mystery the first time you heard them. “Cocanium” is a straight out 70′s Pop-Rock delight that could have been at home on a JOE WALSH or STEVE MILLER album. Gritty, mature and possessing dynamite bass lines and keyboard parts. Baizley actually played all of the bass on the album too since new bassist Matt Maggioni hadn’t joined until late in the writing process. Whether it’s the catchy “Back Where I Belong” or the transcendent “Eula”, every song has goose-bump inducing moments from both Baizley and Peter Adams in the guitar work.
Green… is very interesting by itself. I listened to the entire album together many times already, but Green has its own merits alone too. It’s not a case of one side being rockers and the other a chill out. Quite the opposite. Both albums have their different tones and timbres. “Green Theme” is actually a little less somber and more up beat than the earlier side intro song. Drummer Allen Blickle might have had to hold back a little more overall than his usual ferocious attack, but it may very well be his best playing of his career. “Board Up The House” has wonderful dynamic range as does “Mtns. (The Crown &Anchor)”. Baizley’s philosophical story telling gets an additional boost from some harmonized vocal lines that will make you think of THE BEATLES. “Collapse” is another gem of song craft also. “Stretchmarker” is soft and introspective while “The Line Between” is one of the hardest songs of the set. “If I Forget Thee, Lowcountry” puts a dreamy end to the opus. Yellow and Green is not only the perfect soundtrack to summer, it is the best album of this mighty bands’ career.
BARONESS sheds the typical trappings of metal for something more.
Few bands have come along on the metal scene that have changed the game like PERIPHERY has in the last few years. Along with ANIMALS AS LEADERS that have paved a new ground by combining progressive rock, math metal, MESHUGGAH’s patented riff style and other forms of music like jazz fusion influences to completely change the palate of what modern metal can be. Of course our denim vest clad brethren will hate this for being to “core” or melodic and whatnot. Still, it is refreshing to see the evolution of a band that is just scratching the surface of what it can do. This is likely the first of several releases by the band in the near future as they are said to be sitting on two more albums worth of material.
In many ways Periphery II features somewhat of a new band. What started out as a project in uber guitarist/producer Misha Mansoor’s bedroom has blossomed into a full, living monster of a group. In particular the additions of guitarist Mark Holcomb and Adam “Nolly” Getgood on bass/production have bore much sonic fruit on top of the impressive, layered approach the band already had with their writing. “Muramasa” crushes out of the starting blocks as the opening track. Massive guitars and drums pound you as vocalist Spencer Sotello’s melodies soar over the din. “Have A Blast” really starts to separate this album and the band from its peers. Starting off with cello and violin riff and some programed synth sounds, the track is not unlike most of the bands’ older material. Prog, djent and even some death metal blast beats rock the otherwise sunny sounding melodic track. Sotello’s amazing tenor voice glides into the upper registers easily and his screams are often terrifying. What really sets this song apart is following the breakdown is a stupendous solo from shredder supreme GUTHRIE GOVAN. If you don’t know his name, go YouTube one of his videos and pick your jaw off the floor later. “Facepalm Mute” leans heavier on the death vocals and bruising riffs which will interest heavier music fans. Songs like “Ji” and “Scarlet” will have you smiling from ear to ear and are pretty up-tempo ragers. There are many bands with three guitar attacks, but few have the thoughtful writing for three voices like Mansoor, Holcomb and mainstay Jake Bowen. “Luck As a Constant” features more insane beats from Matt Halpern, who lays down a phenomenal performance overall. “Make Total Destroy” is the single and is as heavy as it is harsh. The small section of death metal people who enjoy this song will gravitate to this track in particular. “Erised” has a guest appearance by DREAM THEATER’s JOHN PETRUCCI uniting these modern prog heads with the last generation of prog metal’s heroes. Another great guest appearance is made by Wes Hauch, recent addition to label-mates THE FACELESS. This another, mostly brutal track with fantastic thematic motifs, twist and turns. Sotello again joins the upper echelon of vocalists of the sub-genre like TOMMY RODGERS, Rody Walker and ex-TESSERACT singer Elliott Coleman. Other top tracks include “Ragnarok” and “Masamune”.
There are bands happy to exist in metal eager to carve out a little niche for themselves and stay there. There are bands that spend their careers catering to the whims of their fans or changing to gain a wider appeal. GOJIRA is a band that does neither of these things, yet somehow manages to be in the elite of artistic ideals, yet maintain a growing, popular following. I prefer to think that all credit due for this goes to the band, rather than the changing tastes (for the better) of the sweaty masses of metal fans. No matter, GOJIRA has crafted another masterpiece album that again defies convention and changes the course of heavy music. Just as they have done with each release of their career.
L’Enfant Sauvage translates from French as “The Wild Child”, but the title is not meant in a strict literal sense. The feral nature of humanity and their constant affect on their surrounding world is closer to the real concept of the piece and it is in that savagery that the music and lyrics are represented to the fullest on this album. All of the colors and emotions that make up the struggle of life, become articulated from the intro seconds until the very last notes ring out. The opening track “Explosia” comes with the trademark sound of the band intact. Syncopated riffs, over the top drumming and vocals that have brutality and melody together seem like they are in the DNA of these guys. Then there is the little hook of the repetitive harmonic lick that flows in and out of the song. Double time blast beasts, swinging grooves and impressive guitar work really punctuate this great opening salvo. The title track follows next and is equally harsh. Intricate melodic riffing captures your ear and I doubt anyone can hear this song and not bang their head in agreement to the beat. The early star of the album is drummer Mario Duplantier. As expected, he has turned in one of the top drumming performances of 2012 on this album. Of course in tandem with the talents of his brother Joe, they are the driving force behind the band. “The Axe” is another face melting track with a stellar main riff, top-flight vocal lines and deep lyrics. I can just envision entire crowds screaming along with the chorus live. In the same sense of the best modern metal bands, GOJIRA doesn’t need to rely on guitar solos to express different themes, they just come up with textural guitar work to bring in other flavors and sounds. “Liquid Fire” brings more of the same power and majesty you are accustomed to. To offset the driving beat and impressive guitar work is the return of the vocorder heavy lines that dotted the bands’ other releases. This brings in the prog influence which always goes hand in hand with their sound. This shows that you don’t have to get softer to change sometimes, just weirder.
When the band is finally done kicking your head in from four tracks in a row of punishment, “The Wild Fire” changes things up. With a whimsical tapping riff and a light beat, this little interlude warms your ear up for what comes next. “Planned Obsolescence” might be the best over all track on a perfect album. GOJIRA makes potentially raw chaos sound coherent with clever writing, tempo changes and dynamic sweeps in the singing. The interplay of the guitar parts between Joe and Christian Andreu is also sublime. Intense and full of little surprises, this is the best kind of writing elite metal bands have to offer. “Mouth of Kala” grinds out riffs and pummels, but never plods tempo wise. In addition to the standard rough hewn verses and sing-along chorus parts, there is a cool mellow section that lulls you into a chill space before decimating you again. “A Gift of Guilt” switches things up once again with a slightly lighter chorus and more tapped out central riffs, which is another Duplantier perfected technique. The verses are a heavy as anything that has come out this year on a record. “Pain is a Master” is another killer tune too. “Born In Winter shows the true prog face of the band. This is a track that could pass for a TOOL or even a new RUSH song if you didn’t know what band it was. For any other band this could be a misstep, but again and again this band takes chances that ultimately pay off. More than half the track is gone before a massive chorus comes in, but when it does, it rules. Bassist Jean-Michel Labadie, often the unsung hero of the group gets to shine here and on a few other tracks with his tasteful playing and thick tone. “The Fall” closes out the album in epic style. Brutal vocal flourishes are blended with yet another powerful, modern dirge of a riff.
Singular in vision, particular of taste and supremely talented; GOJIRA is nearly unrivaled in modern metal excellence.
Delivering his fourth solo album, former EMPEROR front man IHSAHN continues to defy both convention and in some cases his legion of fans. Admitting that he has long left the confines of traditional metal, black metal or other types of music, his vision allows him an outlet of total artistic freedom. Naturally some fans pine for the glory days of old when he led EMPEROR through their ground breaking career, shaping the genre of Norwegian Black Metal for legions of admirers and imitators. Then again, if you have made it this far with him you know the music coming from this man is not just unpredictable, it is down right impossible to categorize.
“Arrival” kicks off the proceedings with the sounds of shovels being dragged on the ground, possibly in a graveyard or a roadside quarry. Launching into the song, you are met by a driving rock beat and some interesting choppy rhythm guitars. IHSAHN’s initial vocal stylings are indeed the howling, blackened madness of old and it made me smile to hear it. Keyboards augment the riffs greatly and when the chorus hits, Einar Solberg of prog metallers LEPROUS takes over. His voice soars over a glorious melody and compliments IHSAHN greatly when they sing together, IHSAHN covering the lower register. This is one of several great collaborations on the album like DEVIN TOWNSEND and JEFF LOOMIS. The song also features a terrific, trademark shredding solo from the master as well. Drummer Tobias Ørnes Andersen helps keep the beats hectic pace up, but under control. “The Paranoid” again, strikes high on the heavy meter with spiraling licks and blast-beats. These chaotic moments are tempered with occasional moments of gentle guitar interludes in the style of classic progressive rock. The riffs are stout and definitely rough enough for most metal fans. The chorus is a neat little slice of melodic heaven, with great vocals punctuated by poetic lyrics. “Introspection” sounds like its title and is a slowed down, contemplative piece at first. You are lulled into a false sense of peace before the crushing second verse and pre-chorus comes in with alternating death vocals and clean singing parts, provided expertly by DEVIN TOWNSEND. The combination of these two leading lights of the genre is terrific. As a singer and a great instrumentalist in his own right, there is little IHSAN cannot achieve and this proves it. “The Eagle And The Snake” also touches on many styles. Jorgen Munkeby (SHINING) lends his saxophone to the rhythm section, giving musical brass balls to the chords. Shirting in and out of dynamic changes in an instant the entire track is an emotional workout. There is a breakdown, complete with sax solo that is mind blowing. Bringing things down a notch and falling into a chill, but heavy groove is “Catharsis”. A great mid-album break from the mania of the other songs. “Something Out There” reverses that feeling and is borderline insane. Death metal, tech death, prog and even jazz influences all collide to create a unique track that still works as a song. Key and tempo changes abound. After a short interlude ,“Grief” comes “The Grave”. Although “The Grave” holds many of IHSAHN’s more modern musical aspects in it, it is ungodly harsh and the most “black metal” sounding track he has done in a while. It is so grim and sad, that it is bound to make the old school fans smile (when no one is looking) under their corpse paint. It is no surprise that themes on the album touch on life, death and coping with loss since Nietzsche on the album cover. “Departure” closes the album out with a sweeping, heavy and majestic track fully of little surprises. Not the least of which is IHSAHN’s wife Heidi S. Tveiten (STAROFASH/IHRIEL/HARDINGROCK/PECCATUM) who’s vocal turn is revelatory. The deluxe edition includes the track “Recollection.” This album does not just comprise the new work of an old master, but another chapter in his ever rising legacy.
IHSAHN: Still one of the most powerful forces in heavy music.
Proving that they get better with age, long-running German thrashers KREATOR are back with a kick ass new album. It shouldn’t be too much of a surprise to most observers since the band has been one of the most consistent bands of any group to come out of the early 80s that are still kicking around. For most of their thirty years in the business, they have been a leading light of the global thrash metal movement and we don’t that too lightly here at Metal Army. These guys are not going through the motions. They are at a creative peak and actually still write meaningful, killer, heavy music.
Kicking off album number thirteen with a calm intro, the track gives way to a regal, rocking announcement fit for an army. “Mars Mantra + Phantom Antichrist” is in typical form for KREATOR: a smoking lead off track that you envision them opening up a concert with. You can just picture them just laying the crowd to waste with this song. Mille Petrozza is ageless as a riff master and a vocalist. Riffs that sound classic and fresh at the same time will definitely resonate with the listener. Lyrically, Mille is also in typically great form. When 75% of the lyricists in metal show little artistry, context or poetry in their words, Petrozza doesn’t need to lean on obvious choices to express himself. Whether its rebellion, politics or controversial issues, KREATOR always has concise, anthemic words to sing/scream along with that are crystal clear. The combination of all of these things makes for a masterful table setter for the rest of the album.
“Death To the World” may have a meat and potatoes title, but the song behind it is massively clever. Great, aggressive riffs and melodies topped off by cool beats make this another standout early track. There is a cool breakdown and a fiery solo followed by a great harmony-lead part by Petrozza and Sami Yli-Sirniö. “From Flood Into Fire” switches things up with a cool half-time power groove beat to nod your head to. The album is full of sick grooves, which only serves to make the thrash parts that much better. Other than a brief, chilled out interlude, the song crushes big time. They is a sweet guitar solo in it too, the kind you’ve come to expect from this band. “Civilization Collapse” is so harsh across the board; it might be the album’s best song. Great songwriting and inspiring choices musically. “United In Hate” starts of with a deceptive classical guitar piece before unleashing holy blazing hell. Shredding solos, right-hand down-picked riffs and machine gun double-pedal work by Ventor Reil make it work. Ventor keeps getting better album after album. Another strong track is “The Few, The Proud and The Broken”. Superb melodic guitar lines, a marching drum pattern and more great sing-along chorus parts. There is even a slightly prog-rock break down at one point that is a neat left turn for your ear. Mille continues to astound! Key and tempos changes, shifting solos and top of the line playing make this a can’t miss. It’s almost like the kind of song you wish some of the older thrash metal bands from the 80′s were still writing. “Your Heaven My Hell” introduces some moody dynamics and vocals with smooth walking bass lines by Christian Geisler. This is all before the big chorus explodes and the song kicks into another gear entirely. “Victory Will Come” is another fast jam, tailor made for the circle pit, while the album closer “Until Our Paths Cross Again” is another mini-epic full of a range of emotions. This album is among the best work of the band, not just in this era, but in their entire history.
FEAR FACTORY have managed to remain one of the most original and endearing bands for better than twenty years and it hasn’t been through luck. The bands’ temerity to survive in the face of many up and downs within the band and with in the music industry as a whole has been remarkable. The main appeal of the band, besides the music, has been the ability to tell stories full of drama and context. In a world softened by the convenience of incredible technology, somehow never respecting the inherent danger that comes with it, the band has been a commentator on humankind’s potential folly. Continuing the man versus machine theme they have explored on every release, The Industrialist is the most fully developed story the band has ever produced and it is a great platform for the compelling music that comes with it.
Starting off with the title track, there is a noticeable difference sonically between 2010′s Mechanize album and this new release. Mechanize was thrashy and had solid songs, but was missing something for me in the mortar that held it together. This album sounds like the classic FEAR FACTORY sound albums from the 1990s. That is pretty weird to even type that since I am a huge fan of Raymond Herrera, who is still not part of the the current incarnation of the band. I have felt like his absence was hard to overcome in general. Perhaps in an attempt at getting back to the pure essence of the music, DINO CAZARES and his collaborator John Sankey (DEVOLVED) programmed all of the drums, bringing in some of the original essence of the style. GENE HOGLAN fans, please don’t send me hate mail, I love “The Atomic” clock as much as anyone. I just felt he wasn’t the right fit for the band. It’s more about power over precision, but it does make a difference in their sound. On the album the beats are punishing and fit perfectly with Dino’s patented superhuman, staccato down-picked riffs. The first song also sets the table for the story, masterfully laid out with BURTON C. BELL’s brutal vocal performance and harbinger of doom lyrics. The overall story is not so new, but as far as recurring themes go you can’t go wrong with an Artificial Intelligence (AI) becoming sentient and then trying to eradicate its masters. “Recharger” is another slice of primo, old school FF. Cutting riffs, sinister beats and crafty keyboard work set the stage while Bell shreds his vocal lines. The chorus is great, and Bell reminds us how he was one of the originators of modern metal singing, switching up his brutality and adding melody with ease. The bands’ secret weapon is also back on board in Rhys Fulber (FRONT LINE ASEMBLY), who is as integral in the producer’s chair as one can be. “New Messiah” is just a beast of a song. It could have come out at any time in the bands’ career and has some insanely good riffs in it. It’s almost a breath of fresh air in this day and age to hear this track with its great synth work, key changes and dynamic chorus parts. When Bell screams “Future. Begins. Now.” you really feel the passion and pain of his delivery. This will be a great song to hear live. “God Eater” moves the story along dramatically with an eerie keyboard/guitar riff that may be partly inspired by one of the greatest horror themes ever. Even if it wasn’t a conscious nod, it definitely fills your ears with dread. “Depraved Mind Murder” sounds like the late 1990′s version of the band, unrelenting and harsh. “Virus of Faith” delivers more of the same vitriol and punch as earlier tracks. This cut also has some of Dino’s best stop on a dime rhythms, another key to his unique style. Other top tracks include “Difference Engine”, and “Disassemble”. This is definitely the best album under their moniker since Archetype (even if they won’t acknowledge that) and certainly right in line with the bands finer work from their heyday. I suddenly have the urge to watch a The Matrix Trilogy marathon and you will too!
Burton C. Bell and Dino Cazares: Together stronger than all.
Many years from now when nerds everywhere look back at the year 2012, they will fondly remember it for many things. Will it be remembered as the year for geek movies like The Avengers, Prometheus, and The Dark Knight Risescame out. IPhone 5 perhaps? Or maybe when Diablo 3 was released? The Facebook IPO? Nah. It will go down at the year MIKAEL ÅKERFELDT and STEVEN WILLSON put out their long teased about Storm Corrosion album. It sounds neither truly like OPETH or PORCUPINE TREE which were the groups that brought these great artists together. Nor does it sound too much like Wilson’s solo high quality work. While there are hints of the talents and styles of each titan, the blend of the two is something new, if not unexpected. It is definitely not the progressive rock masterpiece fans (amd I) have dreamed of and that likely is either a plus or a minus depending on your taste.
The album as a whole is more like a series of emotional peaks and valleys rather than the bombastic riff fests these two are better known for in their earlier, more metal-related careers. “Drag Ropes” begins as a somber affair sonically with some gentile keyboards and guitar. ÅKERFELDT’s chant like delivery of pastoral chords sets the table mysteriously. When Wilson’s voice comes in later it is magical. They contrast and compliment each other well as they have for years. There is also some interesting guitars that resemble neo-folk sounds almost like a movie sound track. In fact it does almost sound like the sound track to one of the past Diablo games. Trippy! Further along the music draws you into a mantra like chant like classic music cannons. Not only are these masterfully done parts of songs, the melody’s will stick with you for days. Some sparse drumming is provided by PORCUPINE TREE ace Gavin Harrison and the track fades back to the beginning after some interesting restrained guitar solo/synth parts. Overall the production is as neat and crisp as you could imagine from this pairing. The title track is next and even though is never gets beyond a hush volume wish, it can be described best as epic and jazzy. The lyrics are thoughtful and also as delicate as the performances. Wilson’s voice leads first with his partner in crime second. Their jazz harmonizing is on a special level. Wilson in particular shows off a surprising amount of soulfulness vocally without falling prey to a rote blues style that another might try. The guitar and keys interplay is again intricate and tasteful. There is a bit of early GENESIS/PINK FLOYD style music-concrete in the end of the track that adds some horror movie tension. “Hag” is almost like listening to two different songs A-B tested against each other. Åkerfeldts’ voice leads here and you have another piece that builds up into something special. From a eerie, creeping tone poem into a bit of a waltz the track definitely takes you out of yourself. You wonder what the faint laughter is about in the background. Fancy dinner party or insane asylum. You never know with these guys. “Happy” is anything but happy sounding. It is very sad and foreboding even with the la-Dee-dah vocalese at the end adding a ray of hopefulness. “Lock Howl” is an all instrumental piece that also sounds like the soundtrack with no movie. Without falling into a gallop beat, it definitely has the feeling of the road traveled, rhythmically and sonically. The final cut, “Ludjet Innan” is a spacial, shoe gazer that will even call to mind good 1980s Brit pop! More great guitar work and peaceful bass and drums. The tones just call to you with remnants of 60s and 70s psychedelic references. Although there is no ceiling on what these fellows can do, it is their stylistic and musical choices that really make this album a winner. It is about as far from metal as they can get collectively. But if you, like them, love great song writing and story telling, this album is for you.
February 10th this year marked the twentieth anniversary of PANTERA’s landmark album Vulgar Display of Power. In celebration Rhino has released an expanded version of VDOP with a slew of bonus materials in an CD/DVD package. The music on this album helped the band cement their standing in the world of metal as an undeniable force to be reckoned with and gods. In many ways this album changed them as a band and set the course for the remainder of their storied career.
Vulgar was the bands sixth album, but only their second to gain a wide release since the bands’ signing to a major label affiliate (ATCO) and the change in style from the glam/power metal influenced years of their youth. Cowboys From Hell was original, thrashy and killer with great songs and totally set them apart from what was going on in metal at the time. If you recall “Grunge” (which I loathe to even use the term) was becoming popular, glam metal was killed off for the most part, alternative became mainstream and hip-hop was becoming a lot of pop rap. Metal was still very strong in the early 1990s even if there were less bands flying the flag that high. Thrash metal had become more mainstream, or perhaps the bands went mainstream first with METALLICA leading the way. Vulgar came along and was the antidote to everything else that was happening for a generation of metal heads. On the back of the success of this release the band spear-headed a changing of the guard that would happen a few years later, at least in America.
Musically the album is perfect from top to bottom. The band stripped down the excess of their older work and streamlined their style. Attempts at VAN HALEN boogie rock were traded in for hardcore/ crossover influenced tempos and riffs. Taking one element of thrash metal and making an entire style around it (power-groove), the band raised the bar for writing and personality among all their peers of the day. Phillip Anselmo swapped his ROB HALFORD scream for a defiant roar, while still keeping it tuneful. Many people still think of “Walk” synonymously with the name of the band, every song is a masterpiece. “This Love” and “Mouth For War” got richly deserved attention for their awesomeness and videos, but it is in other songs that the backbone of the album was built. Tracks like “A New Level”, “Fucking Hostile”, “Rise” and “By Demons Be Driven” are nearly equal in writing and performance to anything the band ever did. DIMEBAG DARRELL’s riffs and leads were rarely more muscular or musical in his career. Even the production, the tightness of the drum sounds, fullness of the guitars and the heavy, but clear tone of bass was expertly rendered by the band and producer Terry Date.
The new release has the original album, the previously unreleased song “Piss“, some unreleased concert footage and music videos. With the 2004 murder of DIME, it’s possible that this album burns a little bit brighter for some who remember the bands humble beginnings. Either way, this is an essential record that still holds up today.
