So this is a band I've been hearing good things about for quite a while. As is my nature, I've started with their first full-length album, and to be honest, it's not bad, but not really amazing. The first thing I noticed was that the production is a bit on the muddy side, but it does help the band meld together, in a way, resulting in a mixed experience.
Musically, they're definitely of the same mold as Dream Theater or Symphony X, but I also felt some Angra vibes, largely in the melodies and choruses. The band is clearly talented, but it does have the problem where the chops seem to come before the songs, and the solos, while many and well-performed, don't really seem to do much more than exercise their fingers. Overall, it has some nice parts, but doesn't seem to build up to anything really noteworthy. However, I can see this as just an early effort and the band certainly has the potential grow from here.
With the passing of Franki Banali (RIP), I figured I'd go back and actually listen to the record that made them a household name. While I've heard the two bit hits on classic radio for years, I hadn't really heard the rest of this album before, so I thought I'd correct that.
"Metal Health" and "Cum On Feel The Noize" remain as iconic and fun as ever. In fact, I think "Metal Health" has a kind of timelessness to it that puts it in the best of 80s metal, period. As for the rest of the album, it's pretty standard pop metal stuff. Some upbeat stuff, some mid-tempo stuff, a guitar solo, a ballad or two. Standouts include the upbeat "Breathless" with it's driving tempo and slick guitar harmonies, and "Thunderbird" which is a tribute to band founder Randy Rhoads who had since left for Ozzy's band only to end up dying in that airplane accident. Kinda brings things full circle, in a way, since Banali's death is what's compelling me to listen to the album.
Made back in a time when metal and rock was made for fun and glory, it's a decent album of anthemic rockers, buoyed by two hit singles that will remain on classic rock radio for years to come.
Sometimes, you just have to check something out based purely on the cover, and the cover of this one absolutely screams 80s metal with a heavy Dungeons and Dragons vibe. And to be titled after one of the most iconic battles in all of fantasy fiction, I just couldn't ignore this. And the result isn't that bad, honestly.
To be sure, this is very much straight-up US power metal, with a limited budget and plenty of riffs to spare. The point of reference I kept coming back to was Metal Church, with a noodly dash of Iron Maiden's early work, a la Killers. The vocalist was also giving me some David Wayne vibes, with a few nods to early Geddy Lee. There are some interesting riffs and ideas floating around, with tempo and mood shifts here and there, and long solos, but it's nothing you haven't heard before.
There really aren't any stand-out tracks on this, but at the same time, it's never boring, keeping to a decent pace throughout. If you've worn out your Dio records and want something a little crunchier to play in the background for your tabletop gaming night, Attacker has you covered.
So after Rob Halford left Judas Priest and spent most of a decade trying to rediscover himself though the groove metal of Fight and the industrial styles of 2wo, he ended up going back right where he started: straight-forward, classic, traditional, old-school, chugging, heavy metal. Seriously, if I didn't know better, I'd think it was just another Judas Priest record I hadn't heard before.
As for stand out tracks there's the opener "Resurrection" definitely setting the pace and attitude of the album; "Made In Hell" which sees our singer thinking back to the early days of metal; "The One You Love to Hate" featuring Bruce Dickinson in a fun metal duet; and "Cyberworld" with its power metal chugging and double-kicking fury. The only real criticism I have is that the second half isn't quite as strong as the first.
Seriously, this is just solid, straight-forward, old-school metal that he used to make with his former band, and continues to make since he rejoined. If there is one other thing to take away from this album has, it's the confidence that Halford brings in his performance. He is in peak form, wailing like he did in the 80s, and backed by massive sounding guitars and drums designed to fill stadiums with fist-pumping power.
Well, there you go. Four more albums at the end of the month. Things seems to be carrying on around here with no time for stopping. I think I'll probably be doing more of these articles, both for upcoming anniversary articles, and to try and catch up on 2020 releases (I haven't done well with that so far this year!).
Until then, rock on! \m/
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