Judas Priest "Screaming For Vengeance" (1982)

 

I've always adored Priest ever since discovering British Steel in my youth. Going on vacation gave me the perfect moment to pause on this record. Racing down the slopes with the hooks of Bloodstone, Devil's Child & Freewheel Burning stuck in my head, it all clicked. I'd never given their other records much of a chance to stick. Songs like Painkiller, Rapid Fire and Come And Get It grab you by the throat and scream in your face. In fairness, it seems that much of their catalog does to. Now with a maturer mind to really give any music a proper go, I've realized what Ive loved about Judas Priest has been lying in wait, abundant among their extensive discography, were I had not ventured far enough before in my ignorance.

 You've Got Another Thing Coming is the one song I knew well from this record. As a mid tempo track with a tempered chugging grove on the rhythm guitar and Halford's attitude drenched lyrics, it plays like a British Steel cut. Lying in wait however are fiery tracks. Cranking up the gears, throttling the pace and amping up the Priest persona, you can hear the group excelling on themselves. Heavy Metal's eternal pursuit of pushing extremes has led it to ridiculous places but before the birth of Thrash Metal you can hear Priest raising the stakes step by step, writing amazing songs along the way, never detouring to the trend, keeping the flame lit.

And thus Screaming For Vengeance is another spirited, fist pumping romp of blazing Metal! Priest churn out the riffs, rife with steely rattles of melody wedged between shiny grooves. Halford's falsetto wails youthfully with that leather cladded attitude, worming his hooks into you as his soaring voice sails off the back of electrified guitars. When they burst into solos the atmosphere is magnetic, their instruments at the mercy of Downing and Tipton's impressive roar off howling pinch harmonics, dizzying sweep picking and relentless hammering on. All happening in the blink of an eye.

Where the album excels is in its pacing. Tracks like Pain And Pleasure, Take These Chains & Fever brake up the motorway blazing pace with a touch of moody reflective blues wrapped into anthems. Every spin brings joy after joy as the high spirited onslaught takes a few turns and twists along the way. Some of these songs also sound rather foundational to shifts of temperament found on the later records. This certainly feels like a high point for the band. I'm not sure where In the discography I want to jump to next, maybe go right to the very start and hear the evolution? Eighties Priest is certainly something to marvel but just how did they get here?

Rating: 9/10

Cocteau Twins "Lullabies" (1982)

This wasn't part of the original plan but with a bunch of EP releases between albums I though we might as well do the deep dive! I am curious enough, so checking out these three leftover songs from the Garlands session was a bit of fun! Lullabies was released just a month after their debut and its three songs represent different approaches that clearly would not of fit the mold. Its production is also a little beefed up with stronger bass lines, balanced out percussion and a louder Fraiser at the front.

 

 Feathers-Oar-Blades is her moment to open up her voice, become more involved in the music, paint it with her singing. Its a brighter track that relives itself of the dreary grey much of Garlands resided within. Not particularly memorable but the following Alas Dies Laughing take the opposite direction, almost to dark for the full length. Its actually reminiscent of Gothic outfit Christian Death and their gloomy, creepy guitar leads. The bands guitarist Guthrie emulates this tone well, layering and overlapping his eerie melodies and guitar noises with subtle reverberations.

Lastly there is It's All But An Ark Lark. A lengthy eight minute crawl propped up by the perpetual pounding of its warm tom drums and higher pitched bass kicks. Its a slightly hypnotic, atmospheric affair with Fraiser's overlapping singing sounding a little contrasted to the warm bass line and general tone. Its all interesting but obviously these songs didn't quite fit the bill and as an EP simply offer some insight to where the band were at. What was most interesting where how a connection to Gothic influences is made obvious. Of course that music scene was born of Punk and Post-Punk too.

Rating: 3/10

Cocteau Twins "Garlands" (1982)

 
New year, new journey. To kick of 2021 I have picked out the Cocteau Twins, a band who's legacy on Ethereal music is well known to me, they are a huge influence on one of my favorite groups Autumns Grey Solace. I'm dead keen on two of the Scottish Trio's albums but Ive never dived much deeper and that's what we will now undertake.

Starting with their dreary, cold and haunting debut Garlands, released late in 1982 on 4AD Records, they ride a wave of Post-Punk bands exploring new territory and at this stage show glimmers of whats to come. Its of the era, bold upfront baselines permeate the music with solid drives of rhythm and marching tune as wails of effect soaked guitar noise create this eerie ambience of atmosphere, pale and bleak yet densely textured from its narrow confines within the mix. Screeching chords and disjointed melodies play with a grainy quality. The fretwork loops back on itself, panning in stereo, circulating ideas without progression. The music plods on in a consistently depressing manor, monochromatic like the unending grey skies of rainfall.

It was not as I expected, I actually found its temperament most comparable to Lycia's classic Cold. It too being a shivering and dark sombre affair of nightly ambiguity and unease. Yet of course the attraction to all this is the smothering mood of dreary music that can conjure the imagination of darker meditative places. Garlands never relentless from that dreary yet oddly relaxing tone. Its best releases from the tension come with the occasional baseline or lead guitar that wanders off to a warmer state of being but only ever for a brief moment before being pulled back to the norm.

The counterbalance is singer Elizabeth Fraser. Soon to evolve into the acts crowning jewel, at this point she is still finding her voice with a somewhat timid performance that is equal too the murky tone. Soft and shy in stature and performance, she is often matched by the instrumental power but her grace is felt often with beautifully sung words and reoccurring vibrato inflection at the end of her sentences. It may be mostly in the mix as her voice does tend to bleed into the guitars with the baselines still prowling proud, unhindered as they march forever forward with a firm stride.

This is a fascinating record, for its songs tend to feel like singular ideas whirling in repetition. It is dazzling in a curious ability to lure one into its stormy arms. Despite being buddy and murky its production aids the concept well with the drum machines competently keeping pace as its reverberated snare strikes frequently with a cutting harshness occasionally thrown to pitch shifting echos. The only drawback is Fraser's vocals, they sound underutilized an quiet, knowing she will hit spectacular heights with records to come. A truly dark and spooky starting point for a band that will bring much glamour and beauty to this spellbound flavor of darkness.

Favorite Track: Garlands
Rating: 7/10

Queen "Hot Space" (1982)

Quirky, camp and kooky, Hot Space flips the deck as legends Queen make a hard pivot away from their roots in Rock, embracing Pop, Funk, Disco and Electronic music with a stern boldness. The Andy Warhol aesthetic is a perfect fit and I can't help but feel this wouldn't of been well received at the time. Retrospectively I wonder what sort of influence it had on acts at the time. Michael Jackson often sighted Queen and Freddy as a big influence are on this record we hear Queen approach the crisp, sharp instruments at hand similar to how MJ would on records like Bad and Dangerous.

All the instruments, drum included, are snappy and swift. Its all about bold punchy tones, rigid mechanical timings and simple arrangements drawing on the stark aesthetic style. One can hear all elements clear and divisible, the music is boiled down to a simple form. Brian May's guitar licks then haphazardly cringe and collide with these clean and slick sounds, often crashing in, amidst an attempt to elevate the moment. Mercury tends to suffer the stylistic approach as his muted singing repeats dull phrases the themes hinge on however his high pitch singing on the caribbean laid back track Cool Cat is simply sublime. The track before it isn't half bad too, Las Palabras De Amor, however it feels like a rehashing of Teo Torriatte. Maybe its just the foreign language selling that angle.

The track Back Chat reminds me heavily of a Daft Punk song. Just had to say that. As the record draws on the group find their natural ecclesiastic breaking free as their diverse set of styles come back around, fusing with the new approach and offering up their typical set of alternatives. It leaves the album meandering its way towards the Under Pressure hit with David Bowie, a timeless collaboration. Its a diamond in the rough. Hot Space is terrible because its just not good enough. Queen overreach and produce something that doesn't sit right with them. It would be a tolerable album if they stuck to the plan but its when their prior sound leaks in that the music suffers.

Favorite Tracks: Cool Cat, Under Pressure

Rating: 3/10

Discharge "Hear Nothing See Nothing Say Nothing" (1982)

Ten spins or so into this cult record I am waiting for a spark to ignite, teetering on a hunch that all will slide neatly into place in an eruption of adrenaline and excitement. It may never come but my enjoyment isn't hindered and comes with a great sense of appreciation and understanding to the significance of such a record. Ive heard this record referenced by many musicians, a "bands band" so to speak. Discharge are an English four piece Hardcore Punk band who put this debut album out in May of 1982 and it fits so sweetly into the linage of extreme music, providing a linking point between Punk music and the likes of Grindcore, Crust Punk and even Black Metal.

Pushing simplicity and minimalism to once new extremists, Discharge deploy a claustrophobic guitar distortion that bleeds itself into the crevasses around the pounding punk march of ruthless, determined drumming. The low fidelity fuzz creates a wall of sound, pushing hard with brief, one dimensional riffs consisting of short repetitions droning over and over again, ready to exhaust the listener of their appetite as the fast thrashing guitar pummel and pummel to no end. At twenty seven minutes between fourteen songs they average two minutes usually consisting of no more than one or two riffs drilled over and over with frequent guitar solos utilizing a similar tactic of minimalism as short bursts of notes repeated over and over erupt above the ferocious dissonance. 

Singer Cal Morris manages to rise above the onslaught, shouting full throat with a rough, burly rawness that persists at a dogged, stubborn pace. Its more than reminiscent of Lemmy from Motorhead who released the iconic Ace Of Spades a couple years beforehand. With that exception everything else is so telling of whats to come. The guitar tone and intensity is an obvious precursor to Grindcore which would arrive a few years later with Napalm Death. The production, which in itself is rather impressive for a thirty five year old record, has its significance in utilizing the potential magic of low fidelity recordings. These ideas would be taken even further in the 90s thanks to Darkthrone.

Its lyrical themes delve into power structures, authority, the brutality of war, freedom and all range of social political points. It always comes from the humanitarian perspective, packaging large topics into short simplistic slogan alike lyrics shouted with fury and anger to stir much needed thought in the listener. Its very much my cup of tea but given my adoration of what it inspired leaves me feeling as its just behind the threshold of my goosebumps, a slightly muted emotional response however objectively its utterly fantastic and such a clearly influential record and sound. Very glad to have checked it out, it fits snugly into the musical evolution map.

Favorite Songs: Protect And Survive, Cries Of Help, The End

Rating: 7/10

Killing Joke "Revelations" (1982)

It was back in March of this year that I first gave this record a spin. After listening to their debut "Killing Joke" I moved onto their third and found it very difficult to get into this one. A lack of fidelity in the production made it unsuitable for earphones on a windy walk. Months later on my sound system I was able to distinguish a lot more of what was going on but still felt an absence of something important. With much reluctance I have finished listening to what I hope is the worst Killing Joke record, its pretty appalling, gloomy and tinged with Gothic influences.

The band's charm is in the dissonant guitars, mechanical stop start rhythms and singer Jaz Coleman's distinguished voice. On previous records it all came together with atmosphere, drive and meaning to form memorable songs that introduced new ideas and musical approaches in the Post-Punk scene that's had a profound influence on many bands, mainly Metal & Industrial. Going from the snappy rhythm led hook of "Tension" and anthemic dystopian sing along "Follow The Leaders", the band hit an inspirational bankruptcy on "Revelations". Opening with the mediocre track "The Hum" marks the high point for a stale and drab record which quickly drifts into obscurity.

The spark is missing, and it can be felt sorely after the first two tracks as the discordant guitar fails to ignite any atmosphere. Idea after idea, riff after riff falls hard on itself as obvious injections of "unexpected" sounds creep into the tracks with bells and acoustic guitars in the breaks. The drums pound and grind away uninspired rhythms that lack a groove or any chemistry with the guitars. Jaz's wails away in his own style but like the drums just fails to gel with the guitars and we end up with a collection of misfiring songs that drone through a moody and uninspiring setting.

It feels like the band where going for a darker vibe and focusing on the drone of the discord. In doing so they were unable to create anything memorable on a miserable record that felt like leftovers from a demo. I'm trying to be fair, but Its a poor effort with little chemistry and a lack of direction. There is also the absence of any electronics which in retrospect feels like an even bigger part of their sound. Disappointing, but I'm still keen to get through their discography.

Rating: 2/10

Berlin "Pleasure Victim" (1982)

Searching for something a little out of my comfort zone I stumbled across "Berlin", an 80s Synthpop group who despite their name are from America, not Germany. Checking out this band in brief was a bit of a trip, a throwback to a scene barely recognizable in modern culture, but only in terms of looks and fashion. Synthpop left a resounding influence in pop and electronic music that can still be felt today, and despite a limited knowledge of the genre, this sounded like a prime example of the sound in its retroactive peak. This was when pop music exploded with rich keyboard synthesizer leads and catchy melodies, an emergence that leads us back to Krafwerk. "Pleasure Victim" went platinum in the states, it took ten years to do so, but now its success seems like something washed away in a ever evolving musical landscape.

Opening with a rigid and plastic electro bass lead, it doesn't take long for the retro sound to kick in as a hyped, glistening synth lead bursts into the fold with an almost cliche melodic lead. Rich synth strings fill the space behind as laser zaps and explosion sounds play away in the background alongside a condensed drum kit that sounds narrow and contained, but of course fitting of this style. Terri Nunn's vocals were initially a turn off, theres a raw authenticity to her voice that felt slightly contrasting to the music, there is a distance created between her traditional singing style and the glistening synths, which as time went on I found to be one of the more enjoyable chemistries on the record. Occasional guitar leads and overdriven chords bring some rock to what is fairly unadventurous record which exemplifies the Synthpop sound.

The record is short and sweet, across the 29 minutes 7 numbers play out with catchy infectious melodies that border cheesy, depending on your taste. The song "Sex (I'm A...)" grows into a cringe fest as moans and groans infest the track as it progresses. Its a thick slice of cheese between two enjoyable sides of a sandwich, which was easy to digest. After repeated listens I felt there was a lack of depth, light and cheerful on the surface the songs were simple pleasures of glittery sound of hooky melodies, but only a couple of songs had the character to stick in the mind. A worthwhile listen, but nothing especially great unless your really keen on Synthpop.

Favorite Songs: The Metro, World Of Smiles

Rating: 5/10

Christian Death "Only Theater Of Pain" (1982)

I came across this album during some casual browsing, praised as the first Gothic Rock album I figured its something I should give a listen. My understanding of Gothic music is limited, so the accuracy of that statement is beyond my knowledge, but this certainly struck me as an overtly Gothic and "out there" record considering the time. The stark album cover is certainly attention grabbing, and the ghoulish yellow font could be an early source of inspiration for many Extreme Metal bands who in the coming years would take a similar path with their logos. And with all that said, Christian Death are a four piece outfit from California, and this is there debut album.

With the sound of church bells opening this album, the group set their Gothic tone quickly as the drums bring in a beat for dreary, mournful guitars to build an eerie atmosphere of pain and suffering through some rather genius flange overdriven leads that gel with a strong, warm bass presence thats participation in the forefront fills a space left by the guitar leads that go of on noisy, emotive tangents in between the core riffs. The chemistry is strong between the two and provides moody Gothic instrumentals for Rozz Williams's vocals which are a point of interest. Flamboyant and dramatic, Rozz's delivery is driving with a slight touch of whine. Its a hard one to describe, but its a love / hate style and one that defines a lot about this album. The lyrical content is introspective, emotional and romanticized with some dark and occult overtones through vivid use of language. 

The aesthetic and theme of this album is spot on, but the execution is disappointing. When doing it right the songs are dramatic, dauntless and absorbing, but more often than not the songs wander off into uninspiring and self indulged tangents that fail to offer anything to get excited about. These weaker songs were frequent and made the listen somewhat of a drag, but for what it does right I will find myself revisiting this one to hear the better numbers.

Favorite Tracks: Cavity, Figurative Theater, Romeo's Distress, Deathwish

Rating: 5/10