Album Review: Grotesqueries - Vile Crematory

Grotesqueries - Vile Crematory

Caligari Records - 2023

9/10

I stumbled upon Grotesqueries via one of my favorite labels several years ago, though their demo stage didn't do a lot for me. It wasn't until the following year when Caligari also released their first full-length, which felt far more complete in execution (naturally). A one-man show out of Boston, this gore-obsessed project quite swiftly crafted a to-the-point but compelling debut in the form of Vile Crematory, one I find myself coming back to somewhat regularly. The album art alone with its colors should easily catch the eye.

For one, Grotesqueries absolutely nails that perfect balance of crafting something ugly and marshy while still preserving some semblance of a clean surface. Similarly, this dodges anything I'd really call technical while still managing to craft longer songs that use repetition to their advantage, aided with extremely sturdy bridges. All of this molds wonderfully with the vocals, which have a gruesome snarl under the already guttural style, trading this out for the occasional shriek. The end result is something that feels like an original sounding ode to the Florida scene in combining aesthetics used both by Cannibal Corpse and Morbid Angel; the blood and filth lyrical content of the former meeting the undeniably evil veneer of David and Trey.

All of this means little if it the songs themselves hold little weight, but Vile Crematory absolutely nails this. The eruptive feeling achieved with the huge drums and crushing weight of the riffs makes for some of the meanest death metal songs I've heard in a while. "Corpsejuice" is a go-to because of its relentless gradient utilizing minimal tactic, which falls wonderfully into the intro of "Gorrified (The Ageless Malignancy)" and its thunderous bass. Longer tunes like closer "Dismembered Fears" and the opening "Hypnagogic Transmutation" that work in several phases with extremely tight bridges and loads of groove might be the best songs. Similarly, doom/death lovers could get something from the trudges of "The Dweller's Threnody," or for the opposite effect, the body-horror stench and chaos of "Meat You With Chain" brings an energy not felt elsewhere. The latter tune just barely hints at a cosmic feel on the back half, which I appreciate.

Frankly, I'm not sure why it took me so long to talk about this record. It sold me upon first listen back when it came out (maybe I was on a break from reviewing), and I think any seasoned death metal fan will get something out of it as well. Rarely does something so rudimentary in format land such a hard blow, but I'll be damned if the mastermind here didn't create a unique identity, and the standout vocals absolutely help. Talk about music that sounds as cool as the artwork looks.

Album Review: Sadistic Force - Midnight Assassin

Sadistic Force - Midnight Assassin
Goat Throne Records - 2023
9.5/10

At the start of the decade, Texas's Sadistic Force made a decent impression on me with their straightforward black/thrash sound that was nothing special but nonetheless strong. At minimum, they knew how to have fun and not take it too seriously. This evolves heavily on the band's follow up three years ago now, titled Midnight Assassin. Not only does that fun angle morph into a more horror-oriented image, but the sound itself cements into something a visibly more notable.

The band has always had an ear for crafting something catchier, and this time around it's done in a way that's more concise but not necessarily cleaner. Longer songs with shifts in tone and higher emphasis on lead guitar prowess dominate more of the record, trading the otherwise catchier but less-involved approach for tighter tunes that feel just as mean. Thus, we get a combo of strong choruses that mesh well with muscular tangents, avoiding any awkwardness. Frankly, I have to throw them props for not simply leaning heavier into the black metal side of things (a decent but sometimes predictable evolution) and calling it a day, but actually coming from a more intricate thrash metal approach.

Of course, this doesn't mean that Midnight Assassin isn't full of harsh shrieks, pummeling drums, and a horrific overlay; it just manages to work in several facets. "Corpsewood Curse" makes this known right away, fusing horror aesthetic with advanced leads that jump all over the place, presenting the album's longest tune. Similarly, "Marked For Death" takes a calmer approach to work a menacing stomp into the narrative, even including acoustic guitars for some flair, while the title track covers us in tremolos and breakneck speeds to trick us into the otherwise steadier march. Fear not, as there's still room for more straightforward blackened speed metal that the band made their name from. "Speeding Black Leather Hell" should tell you what you're in for just based on the title alone, served with gang chants and straightforward rhythms, but even the solo here curates a dramatic shift that caught even me off guard. Hell, "Nuremburg Nights" lets in what almost feels like a Motorhead-inspired black 'n roll vibe to pair with the macabre lyrics, and again, I really can't get over how well all of this works together.

It may still be tough to call Sadistic Force overly original, but having an identity separate from the larger scene is absolutely something they've nailed with their second full-length. A multi-faceted approach in the black/thrash realm is one of my favorite things to come by, and the Texans have done it. Beneath the noise sits layers of borderline classic tints that one could trace back to the first wave if they wanted to. Fans of Hellripper, Witchery, Bewitched, and the likes should seek this one out.

Album Review: Judas Priest - Angel Of Retribution

Judas Priest - Angel Of Retribution

Epic Records - 2005

8.5/10

Long past the classic era, Judas Priest would enter the new millennium in uncertainty. Dropping something as game-changing as Painkiller only to completely shift directions with a different vocalist and everything was sure to generate a liminal "space between space" era that likely felt directionless at the time. For that, I can only imagine what it must have felt like for the longtime fan when Angel Of Retribution was released in 2005. In a vacuum, one wouldn't be able to tell that this modern take on the 1990 style would go to define their career even two decades later, thus I can only imagine it was nothing short of exciting. Folks, welcome to the start of what I call the "comeback" era, one that never truly ended.

Consisting entirely of the classic lineup (minus drums, as those were never that consistent), Judas Priest very clearly set a stage that attempts to pick up where they left off fifteen years earlier, almost dismissing the Owens albums as in-betweener side gigs. I say this only because Angel Of Retribution takes virtually nothing from them, skipping all of the '90s-isms that coated those records. Instead, they arguably strip things back the other direction in a musical sense, trading bombastic and crunchier production for softer clarity. This forgiving atmosphere does not take away from the heaviness of a decent number of the songs, but rather just dulls their tips. Inject a refreshing punch to the songwriting, with its focus on hooks, emotion, and drive, and you've got what was quite unique for its time.

In other words, 2005 was several years before the traditional metal revival that came to dominate a new generation of bands, and the dual-axe veterans were ahead of the curve they themselves influenced. Almost nothing is overzealous, channeling that "we're still young!" energy into several memorable moments. For one, "Hellrider" almost encapsulates the band's entire vibe with one longer, eccentric vibe, while opener "Judas Rising" channels the same energy into a far faster and blunt impression with machine precision. It may come off as a bit on-the-nose, but I think they were pretty self aware of what they were doing. If you had any doubts, "Deal With The Devil" follows it up with a steadier kick, completing the one-two punch we all love to see on efforts like this.

The few times Rob and co. step away from safety land pretty nicely, with only one exception. Perhaps a hot take, but closer "Lochness" absolutely did not need to be thirteen minutes long, and the constant, repetitive pinch-harmonics make me dislike it enough to hold the entire back a notch; never mind the fact that "Eulogy" would have been a perfect closer, keeping the overall runtime breezy too. Otherwise, the other breaks from this traditional norm fit right in. "Angel" is one of my favorite songs of this era, a masterful ballad built on wailing emotion, with slow build utilized by the drums before unleashing a heavier sendoff. Similarly, while nothing exceptional, I appreciate "Revolution" for incorporating doom-riffage to add personality to the traditional formula, and even its follow-up "Worth Fighting For" has a sneaky edge to its somber tone.

In hindsight, Angel Of Retribution isn't overly special, and Firepower will always be my number-one pick from the "comeback" era, but I still find so much charm in this. It was unique for the time, it breathed new life in what the band had already crafted for themselves, and perhaps best of all, even their peers weren't doing the same thing. Iron Maiden had moved on to longer, progressive epics as the norm; Scorpions had fallen entirely into the pop/alt rock realm; Black Sabbath was basically non-existent. With its corny fillers and mild flaws, this record is a force to be reckoned with, and returning to it is always a pleasant time.

Album Review: Judas Priest - Invincible Shield

Judas Priest - Invincible Shield
Sony Records - 2024
7/10

For those that don't know, 2018's Firepower took yours truly by absolute storm, working past forty years of releasing full-lengths, and it would have been the perfect send-off for Judas Priest's career. There's a key part of that statement, though; would have been. Six years later, the British heavy metal titans dropped another full-length, making little impact on me at the time. After some time to properly take it in, I felt there's no better time than the present to check out Invincible Shield again. They've created a hard act for themselves to follow, but time sometimes rids me of that expectation.

Similar to the path they've been on, the latest effort from Rob and co. displays the same base with mild alterations on the surface. Power metal-induced traditional metal under a modern banner with that post-Painkiller flair still reigns, going with the cleaner production that proved to work well last time. Similarly, there's a slight attempt at keeping things varied, even opening on chorus-earworm heavy hitters upfront with "Panic Attack" taking the more sing-along route while "The Serpent And The King" amps up the intensity. Hell, perhaps one lesson the band learned was not overdoing the length, clocking in near the fifty minute mark rather than the hour (or more) mark, giving us sturdy footing.

Alas, I can't pretend that I still don't feel underwhelmed. Only part of it is the fact that this was already perfected the last time, with Invincible Shield bringing absolutely nothing new to the table. After all, no band can reinvent the wheel over and over again, especially a band that played a large role in inventing said proverbial wheel in the first place. However, there's a very obvious step-back in songwriting exchanged for what's arguably heavier chops. I won't pretend that much of this isn't more aggressive, showing blatantly in the likes of "With God As My Witness," but it's lacking where it matters. Most of these songs don't have the emotional charge in delivery that I came to love; the opening numbers I mentioned that clearly rely on catchy elements fall short in repetitive and lackluster choruses; "Devil In Disguise" and "Escape From Reality" attempting that slower-crawl is missing the doomy grit; even the epic buildups attempted in several spots really don't sell me, and closer "Giants In The Sky" misses the attempted emotional charge. If there's any actual standout that comes close to deserving praise, it's "Crown Of Horns" and its anthemic vibes actually feeling focused.

Some will say I'm being rather harsh, and to their credit, this isn't a bad record. Maybe I dislike it more on principle than in execution, but the execution lets me down nonetheless, and in a vacuum I don't think I'd like it much better. Things are competent, the formula works, and everyone is good at what they're doing; but almost nothing sticks. Objectively, it's better than the rightfully critiqued Redeemer Of Souls, but I'll once again say that I'll take a rough-around-the-edges outing that still has a distinct identity over a safe, formulaic one that checks all the boxes. Judas Priest has done more for heavy metal than likely any band outside of Black Sabbath, and for that, they can go out with eternal respect and not lift another finger. This album is a sign that perhaps that's the move.

Album Review: Judas Priest - Nostradamus

Judas Priest - Nostradamus

Columbia Records - 2008

6/10

Following what we may consider Judas Priest's return to form in 2005's Angel Of Retribution, they would continue on that road of reinvigorated energy meeting nostalgia three years later. But unlike the other records that followed that template, they would step into arguably their most experimental effort in this era, maybe ever. Nostradamus saw the band not only tamper with a concept album, but inject musical elaborations that teeter on epic and opera. If that isn't a lot to take in, then perhaps its nearly two-hour runtime will be.

That very fact would prove to be the experiment's biggest retractor. On paper, their second record seeing Halford returning is presented pretty wonderfully. Powerful vocals meet boisterous and thick leads that utilize the bass to amp its presence even higher. Tight and clean production make it so nothing goes missed, with a healthy dose of theatrics and synthesized guitar attacks to add the littlest touch of flair. Throw in a decent ear for impactful hooks, and you've got about as great a template one can use for a strong epic journey.

Moreover, Nostradamus knows exactly when to employ meaner grit for a firmer impact as much as it does the same with softer veneers and emotion. Frankly, the first track (ignoring its intro) "Prophecy" is one of my favorite numbers of the post-2000s era; its opening riff, unrelenting drum blasts, and threatening pre-chorus break into a chanted release that all but brings me goosebumps. "Persecution" feels like a response to that one, morphing matched furious drive into speed, topped with what feels like a classic horror chase bit. "Pestilence And Plague" has some power metal tropes that breath hope beside upbeat chops meeting haunting synth, and "Lost Love" uses emotion and soft guitars to aid a sadness felt miles away. "Alone" coats a similar feeling, but definitely didn't need to be that long. Hell, even "Death" is loaded with obvious doom thrusts, maybe the only long track that holds momentum until its end.

Sadly, there's a tragic other side to all this; after about one third of the record, its thunderous embrace wares off. Normally, saying "this is simply too long" is not enough to tank an album too hard, but it will if that error seeps into many of the individual tracks. "Revelations" is seemingly a stronger number with its symphonic elements and galloping drive, but it meanders far too much for its own good. Both closers "Future Of Mankind" and the title track display this even worse, as by this point of the album it's even harder to forgive that. Make no mistake though, they're guilty of this in a vacuum too, and "Exiled" is a great example of why long repetition borders on corny. "Alone" is a fine example of what could have been a soothing acoustic bit turning into a repetitive mental drain. Even "War," as fun as its marching vigor comes off, is dampened by over five minutes of something that can barely repeat for three before it's overdone, and that's if you ignore its surrounding interludes. As a matter of fact, insult is added to injury with there being too damn many interludes. If you simply tacked those onto every track they precede (or follow?), it adds extra unneeded fluff to even the strong tracks, making any chance of overlooking all of this virtually impossible.

Judas Priest's experimental effort is not awkward nor poorly executed. It's competent, written with a formula that all but promises exceptionality, but falls into a tragic fate of doing entirely too much of a good thing. This is a pattern that would appear on every other post-Painkiller record albeit to a far more manageable degree, even hurting the better records just a notch. Had this been one-third its actual length, and baked the decent interludes into less repetitive main songs, this probably could have been one of the best albums of its time. Instead, we're left with something that's likely no coincidence that most of my favorite moments are on the first disc. Alas, while I may suggest hearing this at least once for all the completists and those who love context, the rest of you are better off using such an allotment of time to watch two Twin Peaks episodes, or four to five Seinfeld episodes.

Album Review: Judas Priest - Redeemer Of Souls

Judas Priest - Redeemer Of Souls

Sony Music - 2014

7/10

It can be a difficult task to assess something without allowing nostalgia to paint an unfair picture of how great something is, but equally often retrospect and surrounding releases make that veneer easier to break. Marking exactly forty years of Judas Priest releasing full-length records, Redeemer Of Souls dropped in 2014, being the first "new" album by the British masterminds for yours truly since discovering them. Place it after an overblown and often considered faulty experiment in Nostradamus, marked by the fact that its release followed my high school graduation, and you've got the greatest vacuum for fond memories to my eighteen year-old self. Unfortunately, hindsight is 20/20, and while it may still be a bit fuzzy, it can be less forgiving.

Let us not get ahead of ourselves too early, though. Redeemer Of Souls rightfully gets lots of criticism, however I'd love first to highlight its strengths, as there are more than most will lend credit to. For one, "Halls Of Valhalla" is one of the heaviest tunes in the band's career, with one of my favorite suspense builds in guitar riffing, utilizing tough stomps and vocal outbursts. Similarly, the title track before it represents this in a warmer tone, cranking out beefy chops with equally crushing drum-kicks, and I even like the catchy albeit corny opener "Dragonaught." Similarly, "Crossfire" in the second half almost predicts the doomier numbers Halford and co. would perfect on the following Firepower, and even the soft closer "Beginning Of The End" seemed a soothing way to go out.

All sounds well and good, until you realize that these highlights comprise less than half of the album, with my single issue on their 2018 effort being ever-more present four years prior. I would be hard pressed to call anything bad, but there's little clarity in many tracks that could reveal songwriting with actual personality. Even as catchy as licks in the likes of "March Of The Damned" may feel, there's a missing oomph that normally makes the band's formula work, and some of that is likely due to the other main issue, its production. Again, I'm a sucker for rough production, but when the drums borderline dominate, the bass is unfelt (save for "Hell & Back" another one with potential that feels flat), and the lead guitars feel compromised, it's tough to get with what they're doing. Actually, I'd say most of these songs show potential that simply isn't quite realized.

Regardless, I will fully admit to having a soft spot for Judas Priest's attempt at painting over their previous mistake. It's simultaneously too long but somehow also unfinished, resulting in a handful of worthwhile numbers to walk away with at the expense of having to look for them. Trimming a few tracks off and touching others up would have done wonders, and perhaps would have shot it up to the way I regard the classic records; but like I said, hindsight is 20/20. Redeemer Of Souls certainly isn't bad, but I wouldn't call it much more than decent either, especially when removing my nostalgia goggles.

Album Review: Judas Priest - Firepower

Judas Priest - Firepower

Sony Records International - 2018

9/10

When a heavy metal band of such magnitude and age as Judas Priest continues cranking out full-lengths past the 40-year (and now 50-year) mark, the criteria for relevancy gets less and less forgiving. Yet, I'm of the belief that the British heavy metallers have given us a mixed-bag of highs and lows in the past couple of decades. 2018's Firepower really didn't promise anything remarkable, given the campy album art and the lackluster response to the previous two full-lengths. But low and behold, not only was my twenty-two year old self absolutely blown away, my thirty year old self still feels the same way in retrospect.

What's even more interesting is the fact that Rob Halford and co. really didn't deviate much from the standard post-reunion sound that's been around since Angels Of Retribution in 2005. Many view the entire band's career from then on to be some variance of the Painkiller formula, but the true difference really does lie in production and songwriting. Despite my soft spot for a rougher sound, Firepower absolutely benefited from a crisp overlay that chops off any excess noise, allowing a thunderous kick that boosts the bass and twin-guitar blasts to pair nicely with Halford's still crystal clear vocals. At no point is the aggression lost, and when necessary, emotion shines even brighter; such a balance would prove imperative.

All of this also winds up being simple icing on the cake when you consider the compelling nature of the songs, and the fluid movement of the varying tactics working in unison so well. Our obvious "hit" numbers blend as well with the more monstrous stompers as they do with the calmer tracks. The opening title track and following "Lightning Strike" may start us off with obvious earworm hooks, but it doesn't take long for that to fold into something bigger than themselves. In fact, I don't really think we'd see this again until far later in the album with the swift banger "No Surrender," being the record's strongest choice for a tune carried by gang-chants. All three of those are fantastic on their own, and I think work as simplified tastes of the protein packed in between.

Everything else unleashes the full-weight of their abilities with the aforementioned varying moods. The fierce and pummeling "Evil Never Dies," the thick and beautifully layered "Necromancer," and the haunting aura erupting into one of the best solos in "Spectre" show that age isn't about to stand in the way of champions. Even the seemingly campy "Flame Thrower" proves more worthy with its aggressive rhythms, powerful chorus, and rising-tide energy, which is embellished on in "Traitor's Gate." Calmer approaches still behold an Earth-shattering presence, like the doom-inspired "Children Of The Sun" boasting clean licks that meet powerful bass/drum combos, or the power metal chocked "Never The Heroes" coating on pretty but heavy melodies. The twin-guitar leads may shine even brighter in those songs, allowing Halford's emotional arc to match swimmingly. The band's (sad) wings reach full fruition this time around in the borderline epic tinted "Rising From Ruins," preceded by an equally melancholic piano intro in "Guardians" to capture what feels like a part two to "A Touch Of Evil" nearly thirty years later. Eight years later I'm still in awe over that song.

I can't express enough how masterful it is when a band who has been around for over forty-five years crafts something as competent and substantial as Firepower. If there's a single complaint to be had, it's the nearly hour long run-time feeling overzealous; I could have done without the final two tracks, especially considering that "No Surrender" would have been a fantastic closer. Neither "Lone Wolf" nor "Sea Of Red" are bad songs, but both go on longer than either needed to as is, let alone following fifty minutes of this record. Otherwise, Judas Priest have crafted something that didn't deviate far from their standard post-classic formula, but managed to pack in not only memorable but consistent bangers one after another under their best production since Painkiller. I can understand the wariness to stay interested this deep into an old-guard's career, but if you only listen to one album after 1990, make it this one.