The Corruption of Mercy (Listenable Records)

Less than one full year after her debut solo album A Sign of the Sublime, the indomitable SARAH JEZEBEL DEVA is back with a new album that ups the ante considerably. The Goth songstress with a list of credits a mile long (CRADLE OF FILTH, ANTGORIA, THERION, MORTIIS, GRAVEWORM, MENDEED etc) has a voice so malleable and refined that she could do any style of music and do it justice. You get the feeling she knows this too, by her musical choices and confidence. Almost immediately after releasing the former record, Sarah began distancing herself from that effort which I must say, I was a fan of. She was rather unhappy with some of the songwriting and production and immediately embarked on the writing process for the follow-up now gracing this reviewer’s ear. More is the operative word here as in more orchestral feel, more thrash riffs, more epic feeling and more Sarah herself in general. All of this makes for a promising release.

A production still from the video shoot for "The World Won't Hold Your Hand".

From the first notes of “The Paragon of Virtue” you get a flavor of what is to come on the entire opus. Crazy synthesizers, grandiose symphonic themes and black metal mayhem dot the track. The song is chaotic, beautiful and fierce. Complex and menacing all at once with Sarah’s angelic voice well places in the mix. No one will accuse her of softly back pedaling on this record that much is true. Next up “The World Won’t Hold Your Hand” is thrash riff-laden sweeping Goth epic which again is buoyed by Sarah’s dusky tones. She has really perfected her brassy alto range as much as her higher pitched timbres now. She seems very comfortable singing what the song needs and not showing off her considerable talents all of the time. “A Matter of Convenience” is a kind of metal song I wish other, more popular bands would make. It is on the straight forward side, but it is rocking as all get out and has several great coy lyrical references. “Silence Please” will call to mind a piece of classical chamber music that is more in line with her work in CRADLE. Chorale-style flourishes (with Sarah doing every voice and harmony herself) and killer evil black metal touches in the middle section that make this one of the most enjoyable tracks on the album. For the most part her new band is excellent delivering consistently well played performed parts and an occasional solo. Guitarists Dan Abela and Jonny Gray in particular standout at all times. As on the last album, Sarah fancies herself a causal reinterpreter of other female artists. Usually she goes out of her way not to choose songs from the metal world to rework. Her bold take on THE CRANBERRIES 1994 hit song “Zombie”, complete with blackened death metal drumming in chorus is worth multiple listens. Back to the originals for “Pretty with Effects” and this cut is truly a stunner. The gorgeous, somber solo piano paints a stark portrait next to Sarah’s breathy, soulful rendering. Definitely goose pimple inducing! Other top tunes are the heavy IRON MAIDEN inspired “Sirens” and the thunderous title track that closes out the proceedings.

GRADE: A

Keith (Keefy) Chachkes