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.
