Stryper - No More Hell To Pay (2013)

Every band that has had any measure of success has "that record" that they can't escape, the one that all future releases are compared to, and the benchmark by which fans judge what they do.  It's an inescapable part of human nature to set a standard by which all future actions or work will be stood up against to see whether or not it surpasses past glories.  For some bands, that is a blessing, as they are able to record material that meets or exceeds the release they are judged by.  For others, it's a curse, as fans never seem to be pleased enough with subsequent albums and always fall back to "that record" as their creative peak, even if their songwriting prowess has improved.  For Stryper, that record is arguably their 1986 album "To Hell With the Devil".

I am of the opinion that while Stryper never topped that album, the 1988 follow-up "In God We Trust" wasn't nearly the disappointment that some people have claimed.  Firstly, about half of the tracks are among the best Stryper ever recorded, that being the 3 barn burners "In God We Trust", "The Writings on the Wall" and album closer "The Reign", along with power ballad "Lonely" and mid-tempo rocker "Keep the Fire Burning".  The other half of the album did sag with lesser tracks, most of which tried to hard to replicate the sing-songy mid-tempo success of some of THWTD's radio fare.  In the end, however, it was still a highly listenable and enjoyable release.  "Against the Law" took the band in a decidedly more hard rock direction, and they didn't really look back to the more balanced approach of pop metal and melodic metal until more recently, with the 2011's release of "The Covering", a scorching collection of cover tunes of mostly melodic heavy metal classics that the band grew up enjoying.  Building on that album's credibility, and the strength of the "Second Coming" CD of re-recorded Stryper classics, "No More Hell To Pay" has momentum to spare, but is it enough to propel the album into becoming a Stryper classic?

As a longtime Stryper fan, I can answer that with a resounding YES!  Michael Sweet has stated in a recent interview that "No More Hell To Pay" was the album Stryper should have recorded to follow up "To Hell With the Devil", and I'd say that's an accurate statement.  This record has that classic Stryper feel and sound to it, with an obviously more modern production and including elements the band likely wouldn't have included in an album during the late 1980's.  Still, the lion's share of the songs here could have been recorded during that time and sounded pretty good as a follow-up to the band's breakthrough release.  There are some updated production techniques, some vocal touches, and slight nods to modern rock here and there that would not have been present, but all in all, this is a worthy successor to their 1986 record.  The biggest strength here is the songwriting and consistency of the material.  There aren't as many absolute standout tracks here as there were on "To Hell With the Devil", but the album's overall quality from track to track is improved over that release's song list.

Oz and Michael's guitars have that familiar "Stryper sound", as Michael has expounded upon in videos and interviews, but with modern production techniques, the sound is fuller and thicker than it ever was.  There's a touch less bite in the tone because of the increased weight of the overall guitar sound, but it's a good trade-off because it comes across as heavier than the band has been since that time.  In fact, the guitar sound here, along with the riffs, and the songs themselves, makes this arguably the band's heaviest album.  Solo work is as strong as ever, and while there's a bit less of the band's trademark harmonized soloing going on, everything sounds great and the solos work well within the framework of the songs.  Robert's drum work is as good here as anything he's brought to the table before.  While Stryper's production has always favored Robert's drums and given him a more weighty sound than many of the band's peers, there's such a balance here that hasn't been struck on a Stryper album before because the rest of the band has as much weight as the drum sound.  Robert is still high enough in the mix that his drums are still quite prevalent and punchy, but it's nice to hear the rest of the band's instruments on nearly equal footing.  There's lots of energy in Robert's performance here, and he hasn't lost a beat over the years, his playing is as strong as ever.  And it's great to have Tim back on bass again, after a number of years out of the band.  Tracy Ferrie was a welcome addition to Stryper, but let's face it: if you're going to attempt a "return to form" and sound like your old albums, getting the band back together with original members is always preferred, and adding Tim back into the mix was a good choice.  His bass rumbles along in the mix nicely, and he shows why he was a bit underrated during the band's heyday, as he does more than just follow along with the riffs and play one-note rhythms underneath, but adds a bit of harmony at times, and brings a little extra energy when needed, like in "Sympathy".

Many vocalists who utilized the upper registers of the tenor vocal range often lose that ability over the years, partially due to age, but also often due to destroying their natural instrument through drink (Joe Elliot) and/or drugs (Vince Neil, anyone?).  Michael Sweet has, thankfully, avoided most of those pitfalls and remains a top notch vocalist.  He can still hit the highs and do the high pitched wails, even if they're a bit tempered now compared to what he pulled off in his younger days.  That said, he brings an impressive performance here that has the dynamics and nuance of his solo material, while bringing the energy, grit, and spirit of what he's done in Stryper over the years.  Lyrically, the songs are as bold and up front as ever, though there are some additional topics covered here aside from looking to Jesus and love relationships, such as the pain of ridicule ("Sticks and Stones"), looking beyond our mortal lives ("Legacy"), and some Revelations-inspired lyrics with opener "Revelation" and the title track.

The thing about this album that I appreciate so much is that it's just so consistent.  Most every Stryper album before this has had at least 1 or 2 tracks that could be considered filler, or just don't match up to the songwriting of the other material.  I feel as though every track here is essential to the experience.  "The One" is the band's best ballad, and fits in nicely with the other material.  "Sticks and Stones" and "Water Into Wine" are both mid-tempo rockers that follow the album's triumvirate of heavy tracks, "Legacy", "Marching Into Battle" (being arguably the album's centerpiece), and "Te Amo", but they don't feel out of place or lacking when following those tracks.  The band has taken heat for their cover of "Jesus Is Just Alright" as being out of place, but I feel like it's a perfect companion to the original material and describes in few words what the band is, and has always been all about.  My first impression of the title track was that it was a bit slow and plodding, when they initially released the video, but after repeated listens, it's as stuck in my head as the other melodies on the album.

If you've never been a Stryper fan because of the cheese factor or because they're just not heavy enough for you, this new record is one that could change your mind ever so slightly, because they've truly made a melodic, yet heavy album that is better and more consistent than the bulk of their discography.  Does it scale the same heights as the 1986 album it echoes?  I would say it does, though that album has a couple tracks that may help keep it's place firmly cemented as the band's best overall work.  Regardless, "No More Hell To Pay" is the best album a Stryper fan could have hoped for in the year 2013, and certainly one that I will be coming back to nearly as often as I get the urge to listen to Stryper.  Highly recommended!

90/100

Bloodgood - Dangerously Close (2013)

Bands from the 80's coming back and reactivating has become more than a trend in the last few years.  Indeed, it has become cliche, to the point where every nickel and dime group that made any impact is getting back together to try and make another run on the 'nostalgia circuit'.  Fans of any band can't be faulted for wanting their favorite group to come back and make another record, go on tour, etc. because we all have that desire to 'relive the good old days' from time to time, and old favorites reuniting to record, tour, and so on, help scratch that itch.  Most of the time it's a cash grab, and fans eat it up even if they're aware of it, because it's a favorite and they want to support them.  Sometimes, though, the comeback is completely legitimate when a band was truly broken up, away from the scene, with little or no indication that something was going to happen to bring that back.  I'd argue that Bloodgood is a prime example of the latter.

Bloodgood broke up in 1993, after an 8-year run, 5 studio albums, 2 live albums, and VHS releases of those 2 live records, complete with theatrical performances, and a compilation of singles and material from several albums.  In particular, their "Detonation" album garnered high praise and worldwide acclaim for it's quality songs, high energy, and emotional material.  The band moved in a less metallic direction after that, with "Rock In a Hard Place" bringing a more diversified sound, and "Out of the Darkness" continuing with that trend after the departure of original guitarist David Zaffiro.  The band's final studio album, "All Stand Together", suffered somewhat from having too many tracks and not enough "rock" in the mix.  The band's comeback album, "Dangerously Close", rectifies that by practically forgetting that album exists and providing what could have been a direct followup to "Out of the Darkness", with surprisingly good results after a 22-year hiatus.

Right off the bat you know this is a modern album by the production, sound quality, and guitar sound, but the songwriting and style hearkens back to an earlier time of hard rock music, not the overly compressed and artificially heavy sound of a band like Nickelback.  Instead, we get real hard rock and melodic heavy metal music from a veteran of the sound, and it sounds genuine and real.  Too often, new bands that play this style come along with production that makes the music sound too "plastic" to try and capitalize on modern production techniques, but ends up taking away from the music by having too much of an "in your face" sound.  This record strikes a nice balance between a modern sound, a heavier guitar element, and that more "organic" sound that helps music like this feel less like a product and more like real art from real artists.  Everything here is well produced, the instruments all sound good and come through in the mix (including Michael's bass!), and the levels are appropriate for the material.

Paul Jackson and Oz Fox's guitars have a nice crunch in the heavier parts, and though they have a modern feel to them, they feels like good hard rock and melodic metal guitar should, with enough whine and wail when the sound calls for it.  There's some real nice dual guitar work here and there, with some layered soloing and harmonized riffs that work really well.  I kind of wish they had capitalized on that a little more, but what's here works quite well.  I also like the fact that it's not just one guitar tone or texture through the album - they use various levels of distortion and crunch, as well as some nice clean guitar work (such as in "Father Father") that brings more variety to the table.  Unlike "Rock In a Hard Place", Michael's bass is loud and clear here.  In spots, it almost feels like too much, as if the bass is a little too prominent in the mix, but he can be forgiven for wanting to be out there, given the lack of bass in some of their material, and the prominence of bass guitar in modern hard rock and commercial metal mixes.  As it stands, he sounds as good as ever, and adds that extra thump as would be expected.  Returning skinsman Kevin Whistler provides a solid, workmanlike performance here with a couple nice surprises, such as the double-bass work in "Bread Alone".

Les Carlsen is in fine form here, and frankly, sounds way better than any rock vocalist at his age has a right to.  You'd think he'd lose some of his range or ability over time, and while he doesn't wail at the same level here as he did on "Detonation" or the debut album, the material doesn't really call for that.  Instead, he still hits the high notes with aplomb and shows he has a sense of dynamics, as well as adding that emotional resonance that has made past performances so interesting to listen to.  His unique vocal sound is still his own, and he continues to bring that element to the Bloodgood sound that helps give the band their own sound and feel.  The way he flawlessly double-tracks his vocals as well gives the vocal sound on the album that extra something.

I don't have any specific criticisms of the album, per se, other than the fact that leading off the album with "Lamb of God" is perhaps slightly underwhelming, given the strength of the other material.  It's a mid-tempo rocker with a simple hook, but it's not the strongest track on the album, nor is it the strongest musical statement.  Otherwise, the songwriting here is pretty strong, as compared to the band's back catalog, and they've created a winning album here that stands up well against what I'd call the second half of their discography.  Comparing this to early works like "Detonation" is like comparing apples and watermelon - two variations of a similar theme, but different enough that they really aren't wholly comparable.  If you prefer the more metal side of Bloodgood, spin the first couple records, because chances are, they're not returning to that sound.  However, if "Rock In an Hard Place" or "Out of the Darkness" are among your favorites, consider "Dangerously Close" in the same league as those records, and pick up a copy to support the band. These are some catchy tunes that I've been spinning for weeks, and they haven't got old yet.  Recommended.

87/100

Persuader - The Fiction Maze (2013)

There are times when a band is labeled as a copycat, for better or worse.  Sometimes they deserve such labeling, and sometimes they make enough of their own mark that such branding is unfair.  Either way, being called a clone can often bring attention to a band they may not have garnered otherwise.  If the band is truly a knock-off, this extra attention is usually short-lived, unless they continue to push the envelope of carbon copying.  If not, and the band has made its own mark, then typically those accusations melt away and the group can win its own acclaim.

Such is the case with Persuader, who at times have been labeled as a bit of a Blind Guardian clone.  Truth be told, Persuader was probably not seen as much of a BG clone as vocalist Jens Carlsson's other (former) project Savage Circus, given that band's debut including former BG drummer Thomen Stauch, and Jens' vocals sounding a lot like BG crooner Hansi Kürsch.  In fact, at times, Jens sounds like Hansi so much that it's uncanny.  Nevertheless, Persuader has paved its own path upon the power metal landscape, and are deserving of their own accolades due to the strength of their material.  Their latest album, "The Fiction Maze" shows just why that's the case.

While the band's debut "The Hunter" was a tad raw and rough around the edges, it showed a hungry band with energy that was trying to make their mark.  "Evolution Purgatory" cleaned up the production and tightened the sound, and "When Eden Burns" pumped up the power and intensity a bit while honing the songwriting skills.  In the 8-year interim, these guys haven't lost one ounce of ability, power, or panache.  The band's 4th album, "The Fiction Maze", takes the elements of the previous album and tempers the sound ever so slightly while increasing the melodicism and making a fairly memorable set of songs.  As far as I'm concerned, this is their best album yet.

The album starts out very strong with a triumvirate of songs that play to the strengths they display throughout the album: memorable melodies, hard-hitting lyrics that take the usual fantasy fair of the power metal style into a darker, grittier place, and an absolutely tight presentation.  In the weeks leading up to writing this review, I've had "One Lifetime" running through my head off and on at random.  The chorus' indelible melody will etch itself into your subconscious if you let it.  "War" keeps things rolling with another solid and melodious tune, and "The Fiction Maze" really ups the ante with the band's trademark combo of growled vocals mixed with Jens' gritty tone and excellent range, as well as a relatively epic sound.  "Deep in the Dark" also weighs in with a successful formula for the more "power ballad" approach that doesn't sink into endless cheese.  The rest of the material follows suit, creating a dynamic and full album experience that doesn't quite reach the heights of Blind Guardian's most lauded material, but still earns a place among the best albums of the last 3 or 4 years, and certainly the best of their career thus far.

As with the previous release, the guitar sound Daniel Sundbom and Emil Norberg bring to the mix is thick, hard-hitting, and crunchy.  There are times when the sound is a bit less heavy than you'd expect, but for most of the record, they bring the heavy and then some.  The guys have a knack for writing riffs that combine catchiness and rhythmic energy in a way that doesn't take away from the power of the sound.  As well the solo work, when present, is skillfully played and melodically inclined, and never sounds like they're just wantonly throwing notes out there.  That doesn't mean they don't have flair or style; far from it.  Bass work by Fredrik Hedström is also skilled, with him keeping pace with Daniel and Emil and sometimes adding that extra layer of emphasis underneath things.  His bass occasionally gets lost in the heavier moments, but his low end is a welcome addition here.  Efraim Juntunen is a talented drummer, able to transition seamlessly between drumming in a groove and belting out lightning fast double-bass and faster rhythms and fills.  His drumming fits the material very well, and never feels like he is trying to steal the spotlight or overdo it.  I'm not sure who provides 

As mentioned before, Jens Carlsson bears more than a passing resemblance to Hansi Kürsch of Blind Guardian.  This is both a good and bad thing for the band, as it immediately gives listeners a reference point, but may be distracting for some.  Personally, I don't think it's a problem, as Jens uses a grittier approach than what Hansi has used in years, and the band's overall sound is heavier and more aggressive than what BG has done of late.  In addition, not everything these guys do is of the level of "epic" that Hasni and his cohorts put out, so to some fans who tire of Blind Guardian's overly bombastic approach, this album's mild refrain from that tendency may be a welcome approach.  Since there's no indication anywhere that he doesn't provide them, I can only assume Jens handles the growled vocals as well, which is both impressive and shows his vocal ability and stamina being able to move back and forth between the two styles.

Ultimately, if you're a fan of Persuader's material thus far, you'll enjoy this album as much as what came before, perhaps even more due to the increase in songwriting ability and quality of material here.  If you're not, this may not convert you, unless you felt like the band's ability to write songs was somewhat limited, in which case, I would recommend giving this album a listen.  For those who think all power metal falls into the "flower metal" category, this album is one that should change that impression somewhat, because nothing here sounds overly happy or cheerful, and the overall tone of the album is darker and more foreboding than much of the power metal out there.  It's certainly heavier than a lot of other bands of the style.  A few more tweaks to the songwriting and even catchier melodies in the songs and these guys could be considered to be on the top shelf of the style alongside the aforementioned Blind Guardian, Rhapsody et al, Sonata Arctica, Primal Fear, etc.  In the meantime, I'd highly recommend this fantastic slab of driving metal.

88/100

Cinema Fancy - The Hunger Games: Catching Fire

Any time entertainment tries to make a statement of any kind, there will always be criticism.  While the lines between art, entertainment, and commentary have always blurred somewhat, there are some who believe that works of fiction (whatever the medium) that are developed strictly as a medium of entertainment have little, if any, artistic merit or value.  I would argue to the contrary: any work that creates an emotional response within the audience, however slight, can be considered art in some form, even if the response is negative.  When a mass medium entertainment form transcends its trappings and is able to speak to people at a level beyond just merely evoking a response and consuming their time, it becomes difficult to argue against the merits of it as art.  Such is the case with The Hunger Games, and it's sequel, the aptly named Catching Fire.

I failed to mention so in my review of the first film, but when I saw the movie with my wife, teenager, and a coworker/friend, it immediately sparked conversation after the movie.  Not the usual post film questions of "What did you think?" and the like, but we immediately began a discourse on the weighty themes of the film, the implications of some of the plot points, and talking about how the events unfolded and what it all meant.  I suspect that's just what Suzanne Collins wanted, and that translated well in the first film.  This second installment of the trilogy revolves around a quickly planned and executed 75th Hunger Games; the 'Quarter Quell', a special edition of the games that takes place every 25 years.  This particular event seeks to bring back past winners of the Games and pit them against one another in a spectacular event.  President Snow, the reigning leader over the republic of Panem, hopes to use this event to eliminate Katniss, since her presence has sparked hope in the people of the 12 districts, something that the Capitol needs to keep at a minimum to prevent all the subjugated people from revolting.

*SPOILER ALERT!*

Taking place a few months, or presumably close to a year after the events of the first book/film, Catching Fire immediately evokes a sense of familiarity for anyone who read the first book or saw the first film, and could be slightly confusing for anyone who hasn't.  Having said that, it's not entirely necessary to do so to get swept up in the film's cinematics, drama, effects, or pacing.  It seems as though there's a balance between wanting the focus of the proceedings to be on the Quarter Quell, and to the events brewing under the surface, namely, the growing unrest and dissatisfaction of the people of the 12 districts of Panem who have finally been given a symbol of hope in Katniss.  Katniss is, of course, caught in between the two worlds she is now a part of, one where she remains a poor young girl with a duty and responsibility to her family, and the lavish world of the Capitol, a land of plenty that she can now experience while touring to visit the districts and promote the Games as a victor.  Katniss does not see herself as a symbol of hope, and only wants to protect her sister and mother, as well as have a chance to live out her life without fear.

With the death of previous Games Maker Seneca Crane, the Quarter Quell is helmed by returning Games Maker Plutarch Heavensbee (played by the over-cast Philip Seymour Hoffman), who quickly plays both sides of the games by appealing to Katniss during a special reception for President Snow (again, excellently played by Donald Sutherland), as well as assuring President Snow during every step leading up to and during the games, that Katniss would be "destroyed" during the course of the 75th games.  Katniss tries to sacrifice herself once again in the games, this time for previous co-winner Peeta Mellark, with whom she has a complicated relationship.  Former District 12 winner Haymitch Abernathy (portrayed well by Woody Harrelson) is chosen alongside Katniss to participate in the Quarter Quell, but Peeta volunteers to take his place, complicating Katniss' efforts to keep Peeta safe.  All the while, Katniss is torn between her feelings for Peeta (while pushing him away), and District 12 boyfriend Gale Hawthorne (while pining for him).  Effie Trinket, the chaperon and constant companion to Katniss and Peeta during their "tour" after the 74th games, shows some emotional connection to the 2 victors during the tour and the time leading up to the 75th games, possibly demonstrating that she's not completely a heartless nincompoop after all.

There are some interesting parallels between the two films that bear mentioning.  It's interesting that in the "demonstrate your skills" portion of the Games preparation, she is totally confident in herself here, and rather than again displaying her bow & arrow skills as she did the first time, she instead uses the time to stage a political demonstration, completely unaware of the machinery at work behind the scenes.  This compared with the shy, awkward girl who missed the target with her bow & arrow the 1st time, before getting a bit lucky with the arrow shot the 2nd time.  The other thing that is quite interesting is Cinna's dress work for Katniss.  In the 1st film, the initial "girl on fire" stunt gave Katniss an identity, and was played upon for the events leading up to the Games.  This time around, however, as a victor and not a tribute, the "girl on fire" persona is taken to the extreme with the transformation of the wedding dress to that of a Mockingjay inspired outfit.  Combine that with Jenna Malone's spirited, expletive-filled rant on stage as Johanna Mason, and the general unity of the tributes during Caesar's interview show when everyone on stage holds hands and lifts them up to the sky.

Looking at it from a post-watch perspective, it's not hard to see the "plot twist" of Heavensbee being some kind of revolution leader, but I honestly wasn't expecting Haymitch to be in on the revolution at that high level, which I thought was kind of cool.  I liked the fact that Katniss wasn't in on the coup from the very beginning, and that the rest of the victors knew that they would be participating in, and possibly dying for, a revolution that may never get off the ground.  But, as the saying goes, "If you're going to die, die for what you believe in."  It's a solid motivator for them, as obviously their deaths are totally meaningless if they're just fodder for the Games' entertainment value.  I'll be interested to see the 3rd act and how it plays out, especially since it will be split into 2 films, as has become customary for Youth/YA novel-to-movie adaptations of late.  Hopefully it will mean further character development for Gale and Peeta, who are admittedly a bit thin as characters thus far.

Ultimately, if you enjoyed the first film like I did, looked past the obvious similarities to previous "death lottery" films, books, and stories, and took it for what it was, you'll enjoy this probably just as much, if not a bit more.  This isn't a film that will go down in history as one of the most socially conscious or poignant of all time, but in terms of its social impact, it still looks to be quite the phenomenon.  When I first saw it in the theater, I felt like it would be the current generation's "The Empire Strikes Back".  My perspective on that has cooled slightly, as I don't know that it will have that level of impact, but in terms of a movie that crosses over from being a niche sci-fi/fantasy drama into something much more universal in its storytelling and overall cultural impact, Hunger Games: Catching Fire has great potential to scale a similar height, even if it doesn't reach that zenith that the Star Wars franchise did.  Since they tell similar stories of oppression and rebellion against an unacceptable status quo, I believe The Hunger Games as a franchise could become the de facto "rise against authority" story for this generation.  Even if you didn't care for the first film, I still recommend this chapter, because I think it's worth the expanded story and Jennifer Lawrence's performance this time around.

Deliverance - Hear What I Say! (2013)

Bands break up all the time.  Some burn out from touring, some have inter-personal conflicts and can't sustain friendships enough to maintain the band, some just get tired of doing "the band thing".  Some bands break up because the style of music they've been playing has fallen out of favor, and rather than dragging fans through a shift to something they might not be on board for, they change the name or break up and reform under a different moniker.  Other times, the motivation for carrying on just isn't there, and artistic integrity demands that a stopping point be chosen.  Whatever the case may be, we're all human, and we can't carry on making music forever.

When a band decides not to change the name as a stylistic change is afoot, sometimes fans feel slighted.  Anyone making music, unless it's absolutely devoid of artistic pursuit or merit, has to be satisfied, at some level, with the art they've created, or it becomes a hollow pursuit.  When the artist chooses to do what feels right from an artistic perspective rather than perpetuate the machine that may please fans more, there's usually a backlash.  Such is the case with Deliverance, forever in the shadow of the 1st 2 albums they recorded, their eponymous debut and "Weapons Of Our Warfare", a high watermark of tuneful thrash/speed metal and a fan favorite.  When band leader and chief songwriter Jimmy P. Brown II decided to begin moving away from that style and guitarist George Ochoa wasn't keen on doing so, the resulting 3rd album "What a Joke" demonstrated that artistic conflict doesn't always make great records like it did with The Beatles.  Once Jimmy was back at the helm 100% of the time with George's departure, he took the band in a number of different directions over the next few years, and created several excellent albums.  The entire "D" fan base wasn't on board with the move away from thrash, because let's be honest - most thrash fans are a kind of picky.

I'm of the mind that while the band's 1st 2 albums are awesome, they're not the be-all, end-all of the Deliverance musical canon.  I happen to quite like some of their non-thrash material as much as those 1st 2 records.  In particular, "River Disturbance" and "Camelot in Smithereens" are both top-shelf albums that any band should be proud of.  I never felt like a full-on return to a thrash metal sound was warranted, and I believe the band proved me right with 2007's "As Above, So Below".  Granted, it was as much a groove metal album as it was thrash, but it didn't sound as vital as it should have, had largely forgettable riffs, and just didn't grab me the way much of their discography had.  I had the same experience with the band's "Learn" album, though repeated listens has given me a much greater appreciation of that record.  I still don't have much to say about AASB, because it still doesn't do much for me.  Now that "Hear What I Say!" is out, and is reportedly the band's last album (again), does it fare any better?  I'll answer that with a resounding "YES!" this time around.

Where the previous album was hampered by largely forgettable songs, this album is far tighter and more interesting, in part because Jimmy and company aren't attempting a halfhearted recapture of the "glory days" of thrash .  Instead, they wisely choose to provide a sort of stylistic retrospective of the Deliverance catalog via a new set of songs.  This works pretty well since the tracks are interesting, the production is much improved, and the whole thing just feels like a concerted effort to make a good album.  The album is a bit slight in terms of content, since you have an intro track that segues into 1 of only 7 new original songs, followed by a cover of Iron Maiden's "Where Eagles Dare", and "Entgiftung", which is a German-language version of "Detox".  Despite the somewhat slim pickings here, it still has enough meat on the bones to satisfy.

The guitar sound is improved here over "As Above, So Below".  Not so much because it's heavier (it's not), but because it has a crisper feel to it.  The production helps that somewhat, but both Jimmy and Mike have a guitar sound that is just tighter and snappier than before.  I think it hearkens back to an earlier time for the band, and that's a good thing, because the production of AASB was just a bit heavy-handed, with its 90's groove metal sound and wall of sound bass.  I'm all for a heavier sound, but when it doesn't enhance the songs or make them sound better, it falls into the "more is just more" category.  I'm happy to report that both Jimmy and Mike sound great here, with a meaty tone that doesn't sacrifice clarity or definition.  In addition, the guitar solos here have a nice wail and bite to them, where they appear.  Acoustic & clean guitars sound great, too, in the songs they're utilized, with that hint of reverb that helps them ring out a bit.  Bass is provided again by long-time Deliverance bass guitarist Manny Morales, who has played on more "D" studio albums than any previous bassist.  It's only fitting that he would play on the final album.  His bass guitar is loud and clear this time around, and is nicely placed in the mix where it provides both an audible companion to the guitar and drums, but also provides necessary weight to the sound.  Drumming on this final album is provided by none other than renowned skins man Jayson Sherlock, who many will know from his time in Mortification, Paramaecium (and later InExordium), as well as his prog metal band Altera Enigma and one-off black metal band Horde.  While it would have been cool to have Jeff Mason behind the kit again to echo the Deliverance power trio days, Jayson's drumming here is powerful, dynamic, and spot on for what this album needed to really take it to the next level.

Vocally, Jimmy sounds as good as ever, and in my opinion, a bit more focused and on-point than he was on AASB.  Jimmy's David Bowie-esque wail has become a signature of his style since he really started singing, and he uses that to great effect here, but there is a bit of variety as well with some shouted vocals, a bit of grit now and again, and a nice rapid delivery vocal in "Angst" that has a bit of a "tunnel" effect on it.  Anyone who has been listening to Deliverance for years knows that Jimmy isn't the world's best singer, but he uses his voice as effectively as he is able to get the lyrics out there, and that's what you get here.  The slower passages and more mid-tempo bits have the best vocal work, as is par for the course with Deliverance material, and in some of those sections he sounds really well honed.  He does some nice dual-layer/multi-octave vocals like in "Hope Lies Beyond", and of course the chorus of "Detox" where there's the mid-range vocal for the melody, and a bass vocal underneath.

In terms of the songs, the new material here is stronger than that of AASB.  Firstly, the intro track ties into the album nicely, giving a hint of the main riff in "The Annals of Subterfuge".  There's no 11-minute aimless instrumental, no tracks that go on longer than they ought to, and really no filler to speak of.  This is a lean album, clocking in at just over 41 minutes.  "The Annals of Subterfuge" destroys any of the thrashier or speedier tracks on AASB, and "Angst" pretty well trounces the previous album's material as well.  Beyond those 1st 2 major songs, you get a lot of variety in a short time.  "Hope Lies Beyond" is a lot of atmosphere with a little riff, and "Detox" is a major groove-fest with a heavy riff and catchy chorus.  "Nude" is a mid-tempo song that echoes the band's more progressive outings with its vocal layering, interesting riff, and different melodic structure.  "Pass" returns to a bit more of the groove metal sound, but with a melodic riff and more interesting presentation than most groove metal can hope to boast.  Rounding out the new songs is "A Perfect Sky", which echoes the balladry on "Camelot in Smithereens" somewhat, with its somber yet buoyant melody, gentle acoustic guitar and spirited vocal from Jimmy.  The cover of "Where Eagles Dare" sounds good, with its chunky guitar, Jayson giving Nicko a run for his money, and Jimmy straining a bit to hit a handful of the notes.  He really does have a bit of that Bruce Dickinson vibe to his voice, and it's a wonder Deliverance hasn't done a Maiden cover before.  And of course the German-language version of "Detox", "Entgiftung" is fun to listen to, especially if you don't speak German, because it's interesting to hear the lyrics of the song delivered in a different language.

If you're going to go out with a bang that leaves fans mostly satisfied but still wanting more, this is the way to do it.  You're not giving them so much material to chew on that they'll be analyzing the album for years to come, but enough that they don't feel slighted that you ended on such an abrupt note.  This 40+ minutes of music is just about right because it gives that retrospective look at the career with quality songs, doesn't overstay its welcome, and encourages repeat listens through memorable melodies, excellent production, and great performances.  Though it's sad to see a band go when their music has been a steady companion for so long, it's nice to see it happen on the band's terms, and to go out on a high note like this.  I would recommend this to all fans of Deliverance, and especially those who like the bulk of the band's catalog.  Anyone else who is open minded where their metal is concerned would do well to look into the album as well.

87/100

Desert Island 500 - Guardian's "First Watch"

For any music lover, there are some albums which are so ingrained in the mind that impartial judgment as to the album's true artistic merit and potential flaws becomes an exercise in futility.  All but the most ardent of logicists have a handful of releases that escape the microscope and are listened to proudly and without abandon, despite perhaps not containing material that marks the zenith of the artist's career, or even of the style of music present.  I'm guilty of this phenomenon just like the next guy, and while I know it's not logical, it's just the way it happens.  Some albums introduce us to music that becomes the "gateway drug" to the style as a whole, or opens up our world to something new and exciting, and those albums usually escape the harsher judgment we heap upon releases of the same style years later because they hit us at the right time in our lives so that their influence trumps their merits.  Such is the case for me with Guardian's debut, "First Watch".

I cannot understate how important this album is for me, personally, in terms of my introduction to proper heavy metal, or how it helped to shape my perception of what the style was, was supposed to be, and potentially could be.  Indeed, there are few albums in my collection more important and vital to me than this largely forgotten gem of a release.  For me to sit down constructively and try to write an impartial review of the album based solely on the music would be like building a skyscraper out of cheese puffs - an impossible task.  I may take that on one day, in the hope that my education in the ways of music has advanced enough that I could see this with more critical eyes, but for now, I can only heap praise upon the album for all it did for me as a fan of music.  Simply put, this was the first album of heavy metal music I heard from beginning to end with no preconceptions, no concept of what it was or was supposed to be, and no idea what my ears were to behold.  It was a glorious experience.

Let me take you back to the summer of 1991 when this album first graced my ears.  I was a silly kid, dorky and nerdy, uncomfortable in my own skin, perhaps more so than most kids my age.  I had very few friends, and my options were limited.  Thankfully, one of the kids in my church who was a year younger than me latched on to me and we became fast friends.  After all, he had a Nintendo Entertainment System, and his mom's boyfriend had a Sega Master System, so we spent plenty of time together playing video games.  But one thing we sort of discovered together was music.  Another guy in our church, many years older than us, had been following the edgier side of the "Christian Contemporary Music" scene for about a decade, and had gone from the early alt rock of The Seventy Sevens, Steve Taylor, and The Choir to the hard rock and metal stylings of Stryper, Whitecross, and similar artists.  Of the bands they had already "graduated" from was Guardian, and the band's debut came into the hands of my friend Casey in the form of an original Enigma cassette, sans sleeve.  Little did this older guy know that this cassette would become one of the most frequently listened to albums for the two of us geeks.

I had previously been exposed to the idea of "Christian rock" by a long-time friend and former school mate.  I used to hang out at her house after school sometimes while my mom worked part-time, and we'd often listen to an album called "Who Do You Love?" by the group Glad, who later became far more well known for a cappella recordings.  That sparked my interest in the electric guitar, in part because of a handful of skillful solos present on that record.  But when I heard Tony Palacios burning up the fretboard on "First Watch", my love affair with heavy metal was first ignited.  Even on Casey's cheap boombox, the guitar riffs came screaming out of the speakers at me, as if they were meant for my ears.  Paul Cawley's vocals spoke directly to me, because they were easy to understand and I could relate to the lyrics.  I didn't appreciate bass guitar then like I do now, but David Bach's bass work helped bring a bit of power to the sound that would have been absent otherwise.  And though Rikk Hart's drumming wasn't out-of-this-world incredible, it was solid, and helped to tie the whole thing together.

This picture just makes me want to go buy a denim jacket and leather chaps.

I dubbed that cassette from my friend because, by that time, Enigma Records had been swallowed up by EMI, and most of the bands either flowed over to Restless Records, or went their own way.  I couldn't get a copy via the local Christian book and gift shop, and I never saw it in the store anywhere, so that was seemingly my only option.  I listened to that dub countless times, and practically memorized every note.  Some time later, I had the opportunity to get the actual cassette from Casey, and sort of "borrowed it forever" from him.  I haven't seen Casey in years, but based on the last few conversations we had, I suspect he hasn't missed it much.  That's okay, because I have held on to it all these years, so if he ever wants it back he just needs to ask.  Needless to say, the cassette is probably nigh unlistenable due to the years of use and abuse, having quickly become a personal favorite.

Fast forward five years.  I'm in college, my musical tastes have expanded to where I like everything from Poison to Mortification, and I've branched out even more the first couple months in college.  I found out that Guardian themselves were re-issuing "First Watch" via their own independent G-Man Records label, and I had to have a copy.  I knew that this might be my one and only opportunity to score a copy on CD, so I ordered 2 copies.  When they arrived at my dorm room, I turned into that dorky kid again, and as I popped one into my CD player and began listening, a revelation overtook me - there were 2 songs on here that I didn't have on my cassette copy!  With the internet still in its infancy, I didn't have access to the boundless musical databases that we have now, so I had no idea that the CD version had 2 bonus tracks, "Hyperdrive" and "Marching On".  So I listened to the whole thing to hear the CD quality tracks, eagerly awaiting the "new" songs I hadn't heard yet.  While they didn't completely blow me away at that point (I had discovered bands like Dream Theater and Tourniquet by this point), they fit in perfectly with the rest of the material, and it was just one more reason for me to continue to love "First Watch".

Fast forward a few years later, and I'm married, working full time and living back in my hometown again.  I had been casually collecting vinyl for a number of years, having started during my senior year in high school.  My younger brother bought me a vinyl copy of the album (same track list as the cassette) as a Christmas gift.  It was awesome to finally have an original copy of the album that was my own and had the sleeve and everything.  And a couple years later, I nearly scored an original Enigma CD copy when my brother and I were browsing a used CD store, but he found it first, so he got it instead.  But it didn't take me long after that to finally have an original Enigma CD copy in my collection.  In 2009, RetroActive Records re-issued the album in a digipak format, with 2 bonus tracks, "Spiritual Warfare" and the 1987 version of "Marching On", both of which were culled from the classic "California Metal" compilation.  This features a remaster by J. Powell, which just gives the album a slightly "bigger" sound to it, but doesn't mess with the mix or feel of the record.  Save for CD and LP issues out of Europe via RoadRunner Records, and possibly a Japanese pressing via Enigma/EMI, I have at least 1 copy of each major issue of the album.  Yes, I'm a fanboy, and I'm not ashamed to say so.

Now more than 20 years from when I first heard the album, it's not overly difficult to put my finger on exactly why it thrilled me so much that first time, and why I still enjoy listening to the album frequently.  Sure, Paul Cawley is a bit of a Don Dokken clone, but honestly I think I like his voice a bit more, because I feel that his combination of gritty and smooth is so good.  I wish I knew who wrote which riffs on the record, because with Paul playing rhythm guitar, it would be interesting to know whether some of my favorite riffs on the album were written by him or by guitar whiz Tony Palacios.  My guess would be, Tony wrote most of the riffs, because his Nuno Bettencourt type of style is all over that album.  Tony has always been one that wrote and played riffs that did more than just chug away, often incorporating small licks and such.  As for recording, it would also be interesting to note whether Paul played the rhythm parts, or whether Tony tracked most (if not all) the guitars in the studio, and whether or not producer Oz Fox (Stryper guitarist extraordinaire) contributed any of his guitar magic.  And while Oz's production sounds a touch thin in places where either 70's full analog big budget production, or modern Garage Band methods would give the album a more "full" sound, it fit what other bands were doing at the time, and takes nothing away from the record's overall presence.

Now, if I had to pick a version to take with me, it'd probably be the 2009 remaster, if only because it includes all the tracks, the remaster, and the "California Metal" tracks as a bonus, but even the original Enigma version would be a perfect companion to a lonely man on a desert island.  I can think of few records I'd want with me more than this one.  I can't say it's my absolute favorite at this point, nor can I say that it'd be the one I'd take if I had to choose only one (I'll speak to that topic more in later posts), but certainly for a personal top 5 or top 10, this would most definitely make the cut.  And that is reason enough for me to add it to my list, and make it one of the first records I thought of when coming up with this Desert Island 500 idea.  I encourage all fans of melodic 80's metal and hard rock to seek out this one and give it a try.  You really can't go wrong with this quality platter.

Theocracy - Theocracy re-issue (2013)

Anyone who has read through a number of posts on this blog over the last few years knows I'm a big Theocracy fan.  Their last 2 albums, "As the World Bleeds" and "Mirror of Souls" are both excellent examples of progressive power metal, and I own both the CD and vinyl issues of both, as well as the 7" vinyl release for the "Wages of Sin" single.  Needless to say, I'm a fan.  That wasn't always the case, however, as I didn't discover them right away when Matt Smith debuted the project a decade ago.  And after I did listen to samples online and heard some of the material, I wasn't immediately taken with it like some were.  I bought the debut, listened to it and shelved it, having been somewhat unsatisfied with Matt's vocal performance and the lack of overly memorable material.  2008's "Mirror of Souls" was a completely different story, as it hit me hard when it came out, and was exactly what I wanted to hear.

Now that Matt and company have established themselves as one of the front runners of the power/prog scene in the US and abroad, Ulterium records has seen fit to re-issue the debut and give it a bit of a proper release.  On the original, the mix was a bit weak, and didn't give the material enough weight.  In addition, Matt used a drum machine for all the drum parts, which didn't really bother me, but compared with what followed, it sounded quite out of place.  This re-issue seeks to fix that by doing 3 things.  First, drummer Shawn Benson re-recorded the drum tracks so the album could have proper drums.  Second, the whole thing has been remixed so that the instruments sound better alongside and in conjunction with one another.  And third, the remaster has given the whole thing a more "full" and "big" sound compared to the original.

For those who were fans of the original, this is going to be a treat.  There are albums that are "remastered" and re-issued to cash in on fan fervor, but often those fall into the "make it louder" category where no real tidying takes place, only volume levels are adjusted.  Some remix/remaster projects legitimately improve the release on multiple levels, and I believe this is a good example of what a little TLC can do to really improve upon something without taking away from what the original was or was trying to accomplish.  When listening to the original and this re-issue back to back, I immediately noticed how much cleaner the mix was in this new version, and you notice a lot of background flourishes, like acoustic guitars, symphonic bits, and keyboard backgrounds that you may not have heard before unless you cranked it up full blast.  In addition, though Matt's vocals are still the original recordings, they sound a lot more like the Matt Smith that Theocracy fans have come to enjoy.

The guitars don't crunch as much as latter Theocracy material, but there's a lot going on here, as the album is a bit more layered because it was just Matt writing, recording, and performing everything on his own, so he could afford to go all out.  Bass guitar is present, but still not very noticeable in the mix, so aside from the low rumble you hear under the guitar and keyboards, you don't get much of that coming through outside of parts where there is no guitar (like during an early portion of "Twist of Fate").  There is a lot of keyboard work on the album, which is more prominent than the 2 albums that followed, and Matt makes good use of the instrument here.  There are a lot of keyboard layers going on, and he makes use of all kinds of effects like bells, a harpsichord sound, and various other symphonic instrument sounds to try and flesh out the sound of the record.  And of course Shawn's drumming on the album is far superior to the original drum machine parts, and makes the album sound so much more vital than it did in its original incarnation.

I'm going to be in the minority here and say that I don't think this is Matt's best work for a number of reasons.  Matt was still developing as a vocalist here, and there are spots where he doesn't show as much control over his vocals as he came to demonstrate on this album's follow-up.  The songs all sound great to me, and the melodies are nice, but I don't feel as though they're quite as catchy or memorable as those on either of the next 2 records.  I liken it to the "Wages of Sin" single - that is a good song, but I understand why it was left off "Mirror of Souls" because it's not as memorable as any of the songs on the album and may have come across as merely filler.  The guitars don't have the authority or presence they ought to, and that takes away slightly from the power the record should have based on the style and sound of the music.  Not to say they don't sound good, but when I crank this album up loud compared with the other 2, it just doesn't hit me as hard.  Even with the remix/remaster, which sounds a lot better than the original, I feel as though the mix is still the tiniest bit claustrophobic at times, in that there are bits that should have a bit more separation.  I know I'm nitpicking here, but Matt set the bar pretty high with "Mirror of Souls" and this re-release still hasn't met that, even though it's still exceedingly good.

Ultimately, fans of Theocracy like myself are going to want to have this in their collection, especially those who missed out on the original CD release and aren't willing to pay a premium on eBay for the original release.  I would say that's a smart move, because this just sounds so much better than the original version.  Folks just discovering Theocracy would do well to wait on this and give either of the band's other 2 albums a listen first, as I feel those records better represent what Theocracy has become as a full band effort.  There's no denying that 10 years on, however, this is still a powerful album that deserves much of the praise lauded upon it.  I just don't personally feel that it's the absolute apex of the style as some fans have tried to assert.  Your mileage may vary, but I still recommend this highly to anyone looking for a quality prog/power metal album.

85/100