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.
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