Danzig "6:66 Satans Child" (1999)

Arriving at the sixth chapter in the Danzig series we have a refinement of sound, vastly improving upon the disappointment of Blackacidevil which tried and failed at its own unique take on the Industrial Metal sound of that era. Satans Child follows suit in the same genre but takes no risks with erratic experimentation and nauseating drum sampling. Instead the band forge a leaner sound with a rounded, brighter production. They give its guitars a weighty metal punch that unfortunately doesn't manifest the same magic from Danzig, II, III or IV, however we do hear strong echos of that time on songs like Into The Mouth Of Abandonment but the record is a mixed bag.

The biggest sell of this record is front man Glenn Danzig himself who returns firmly to his bluesy style, rising to the center of attention, the double tracking of his vocals has some real oomph that's a nice touch and his emotional burdens find their theater again. With a firm sound and the return of the singer it is the obvious influences that initially took my attention away. In the wake of the Nu Metal scene one may initially hear the syncopated stop start grooves that play thick distortion guitars against their absence and focus on the altered approach to groove however its not really not in that vein. They do sound strikingly akin to other bands on some songs though, the Unspeakable main riff sounds lifted from a classic Helmet record and Apokalips sounds uncannily alike to Swans. For the most part they sound like Danzig experimenting with the Industrial Metal style other bands had mastered at this point.

Once over these humps I could hear somewhat of a slow start to this record, its first tracks roll out and the tone is cramp, the guitar work stiff but as it grows the slow crushing guitars of Doom Metal start to revere its demonic head. Further down the road the welcome sound of pinch harmonics starts to bounce of the guitar riffs in true Danzig style. Cult Without A Name is the first instance but its not until Cold Eternal and the last five songs that the record really blossoms, the closer being a real gem. Its a strange journey that ends well, the music is enjoyable but the infection is only to be found in a handful of songs at the end. I think the band find themselves again here but have a hard time getting the best from Glenn and themselves when they are stepping away from the fundamentals of their roots and sound together. A fair record.

Favorite Tracks: Into The Mouth Of Abandonment, Apokalips, Thirteen

Rating: 6/10

Danzig "V Blackacidevil" (1996)

Given the streak of four solid, successive records I was expecting a downturn at some point along the line in the Danzig legacy, however this drastic shift in style was not anticipated. With vague echos of their former identity lurking in the shadows, the group choose to reinvent their sound in a different vein. Released the same year as Antichrist Superstar, they move into the currently exploding Industrial Metal scene. Vocally this performance sounds very akin to Nine Inch Nails on one track, Danzig himself ditching the voice that made the project dazzle in favor softly sung, half spoken verses in the same fashion as Trent Reznor. Mostly though he adopts another familiar approach, the distant yet channeled shout, that of Ministry's Al Jourgensen.

Initially all of this was a bit much to stomach, a harsh and rigid tone fronts the listener as its chiseling, roaring guitars drone under a dense layers of sampled drum loops and the drummer churning out steady grooves to keep the tempo. An unsurprising compliment of machine like synths whirl and buzz out half melodies on Industrial sounding noises to thicken a lifeless texture. It all forms into a clatter of noise which mostly has little charm. A lack of groove, energy or purpose dominates the dull vibes as the songs mull through simple song structures with the odd mustering of unusual sounds within breaks. It really comes off like an imitation game of sorts, with Danzig missing the mark.

With familiarity a couple of better songs emerge but mostly for being more tolerable in a string of unexciting, tedious Industrial drones. Although the production style initially seemed a stiff and harsh it turned out the lack of melody and texture to the songwriting gave it a rough entry point. As my ears adjusted across several listens it become apparent the music itself was the real problem. Their racket of a cover of Black Sabbath's "Hand Of Doom" another low point on a record that only produced two good songs at best, their attempt to follow in the footsteps of others a disappointing one. They threw away a golden sound, I can only hope the sixth chapter gets back to what they are great at doing.

Favorite Track: Sacrifice

Rating: 3/10

Danzig "IV" (1994)

This fourth installation in the mighty Danzig series continues onward with an ever so familiar blues soaked, devil horned grin rumble of metallic rock reveling in the ecstasy. With minor tonal changes and aesthetic nuances adjusted for a shade more sweat and muscle, IV marks a shy attempt to broaden the scope a couple outbreaks of nonchalant forays into gloomier sounds. Its mostly defined, once again, by Danzig himself who, between his ever command presence, offers up a whispering softness of attempted diversity on Cantspeak as well as a spoken word style performance on the grim, tribal and mystic Sadistikal, the likes of which we haven't heard of before.

Aside from the small pickings of adventures upon new land, IV marks the band still firmly in a potent stride, producing, as always, captivating music lined with a similar balance of variety and the hooks to dig in deep as Glenn relishes in the empowered delivery of dark, menacing lyrics to sing along with. The metallic, groovy songs loaded with distortion guitar riffs are on fire and their acoustic laden counterparts offer up a sense of ebb and flow that lets the album ride sweetly from front to back without a hitch! Its becoming a very familiar experience with not much to elaborate on but the quality is yet to subside, as I'm guessing they, like many bands do, will eventually come to some sort of decline, a quick flick into the fifth chapter does not sound promising though.

Favorite Tracks: Until You Call On The Dark, Bringer Of Death

Rating: 7/10

Danzig "III How The Gods Kill" (1992)

This third chapter in the series continues on with a very expectant tone, the same knuckle strapped rock and rattle of Heavy Metal tinged in the bluesy voice of Glenn Danzig strikes again. Deep into their stride the band offer up another ten songs that will make a meal of picking your favorites, the energy is ripe, the music inspired and the tone dripping in a moody evil ready to persuade. With an increasingly metallic leaning, the intensity broods and moves a touch more expansive, the opening "Godless" a bold example as its thrashy uptempo pace collapses into a crawling swell of prolonged power chords fading into a soft and eerie synth. It parallels Doom Metal but only for this one song.

Much of what Ive said about Danzig and Lucifuge could be said again here, the music however catches up with Glenn here, the powerful intensity of the guitar work keeps up with his monstrous personality as the enigmatic front man with his cursed performance which always carries a burdeon. "How The Gods Kill" keeps the power at bay, a soft acoustic guitar accompanies Glenn who shows the soft side of himself in a pleasant melodic calm that unsurprisingly erupts with squealing pinch harmonic riffs to ratify the unease that lingers throughout.

Each of the songs ideas are executed with a touch more cohesion than before and the whole album is enshrined by its shadowy mystique, the songs turning the screws tight on a darker shade of the Danzig sound. Its chilling, spooky and perhaps best personified on "Heart Of The Devil" where Glenn affirms is evil intention, boasting the influence of his corrupt powers in a roaring performance. Followed by "Sinstinas" the mood drifts ethereal as the group take a turn with light synths and soft reverberated chords that plays like a sleepy dream pop love ballad reminiscent of Julie Cruse, of course its like a mirror to the darkside.

The edging of ideas creeping into new territory that can be heard here fits easily into the chemistry but only in the fractions it does. Otherwise this third chapter makes its self mostly known for its more sinister leaning and harder hitting guitar licks. As on every record so far Glenn's performance and persona illuminates the record and his lyrics get stuck in your mind. Its their most powerful asset, here as sharp as ever I think its fair to say this is my favorite so far! Chapter four is next.

Favorite Tracks: How The Gods Kill, Dirt Black Summer
Rating: 8/10

My Top 10 Music Discoverys In 2017

Its been a difficult list to write up, had to shorten fifteen or so down to ten and that is after I decided to remove artists that featured in My Top Albums Of 2017 post. Its been a hectic year and I think it may be time to tune out from some of the mediocre Metal bands Ive kept up with and dedicate some more time to discovering new sounds! These are my favorite discoveries this year.

(10) DMX

Not a name that's new to me and of course I heard Party Up and other classics plenty of times before but I decided to get through some of these records that dominated the charts towards the end of the record industries stranglehold on music. I'm glad I did so, not the greatest records ever but X has a charm and every album had a couple of great tracks to return to.

(9) Post-Malone

Although I've not been to impressed by his debut album I think Post-Malone shows a wealth of potential as a musician developing a new sound that's really engrossing with over the top relaxing and chilled out vibes. These songs are still growing on me and with a new album is on the way I find myself really anticipating his next move!

(8) Austra

 

The best of this band comes from their debut Feel It Break, the combination of Kraftwerk-alike melodies in simple electronic arrangements with Stelamnis's hypnotic vibrato voice makes for easy going, uplifting music with a strong current of emotional value attached to it. Great discovery but unfortunately It seems as if they might not reach this peak again.

(7) Oranssi Pazuzu

Inching open the Metal horizon even further Oranssi Pazuzu bring dark, abysmal psychedelia to Post-Black Metal with a freighting stroke of genius resulting in harrowing, grisly soundscapes that are completely unworldly. My cup of tea! I still very much love to turn on their seventeen minute epic song from time to time for another trip into the depths of abandon.

(6) Milk Teeth

This is just the right shade of Grunge for my taste, although in this Internet age they may come off like a nostalgia act, Milk Teeth are very much their own band with a strong emotional energy and ear for aesthetic noise that elevates many of their songs with wild noisy energy emanating from their guitars in the songs peaks. The latest release did seem a little turned off from that direction but I'm hoping they can turn it around!

(5) Puppy

Ive had the pleasure of seeing them twice this year and both shows were fantastic! Puppy are an up and coming band pulling in all strains of influence from Metal, Grunge, Hard Rock and Alternative resulting in warm music with fun songs, grooves and dazzling guitar solos from Jack Norten are the cherry on the cake! They are also working on a new record to look forward to in 2018.

(4) Fief

Plucked from the past, this gem of medieval fantasy nostalgia is the most inviting and easy going project to grace my ears this year! It casts its spell instantaneously and paints a pretty picture of garden courts and tea parties in the realms of kings and dragons. A simply wonderful discovery!

(3) Load & Reload

 

Its time to break the rules! Although this section is usually reserved for new bands, I had to put these records in. In a way it felt like discovering Metallica again for the first time, a treasure trove was unlocked in two excellent albums that I had dismissed in my youth, and now I get to relish in the energy they bring. I simply cannot get these albums out of my head! They are wonderful and reflectively a really great direction for the band to evelve in.

(2) Puff Daddy

Everyone who grew up in the nineties knows of Puff Daddy but I had always been put off by his whispering voices on songs he had produced for other artists. Remembering a vivid memory of picking this album up as a child in a record store I decided to check this out and what a treat! This album is the epitome of the late 90s sound which has really grown on me over the years. I adore this record, a real classic!

(1) Danzig

As much as I'm loving the Danzig sound I have to admit my appreciation is partially analytical, I understand whats fantastic about the music but I feel as if I'm playing catch up. It will take some time to drill these songs into my mind but already I feel as if this would of been perfect music to bond with in your youth. I'm on the third record now and its just a great! I've read the first four are where its at so more Danzig to enjoy in 2018!

Danzig "II Lucifuge" (1990)

Two years off the back of the self titled debut, Glenn Danzig and his cronies reunite with Rick Ruben for another stab at their metallic tinged blues rock. Taking a vigorous stride forward, Lucifuge marks the solidifying of ideas heard on the first record while turning up the intensity, a nuance you could easily miss. Its a sweet and simple progression that has very much the same blueprint and aesthetics yet a learner, harder Heavy Metal approach brings out a touch more aggression and attitude in the guitars while Danzig himself revels in his voice, finding much comfort and ease in this tone he has carved for himself.

 Opening with meaty temperate grooves and harmonics loaded into classic metallic fretting, the rock and wail is illuminated with more intermittent guitar leads, mini solos and licks over the top of mighty power chords, raising the energy for Danzig to steal the show with his deep burly voice, flexing Country accents and tinges of Southern sounds in his bluesy performance. He sounds born of hell, weathered yet youthful, full of energy but engaged with life's burdens. It culminates with strings of classic lyrics and choruses to sing along too, as well as many big riffs which often come front and center when the songs shift to the slow and hellish elongated grooves reminiscent of Doom Metal and mainly Black Sabbath on a couple of tracks.

"I'm The One" goes full Country, an athletic acoustic guitar bustles in the silence between Danzig's musings, a lone hi hat holds the tempo down with its steady rattle. It feels as if the track will erupt into overdrive but it never quite comes. Its followed by a string of sterling songs that lead to "Blood And Tears", a slower, sorrowful song that plays like an old timers ballad, peaked by a solo and illuminated by the soft glow of a buried organ. The record is a shade better than its predecessor, my enjoyment still feels a little limited but it gets steadily more infectious with more exposure. I really get the impression these records would of dazzled be blind in my youth!

Favorite Tracks: Killer Wolf, Her Black Wings, Blood And Tears

Rating: 8/10

Danzig "Danzig" (1988)

I'd never had much luck getting into the Misfits and if it wasn't for Rick Rubin's involvement producing this record Id probably of passed up diving into the solo material of an artist from a band I'm yet to vibe with. Named after front man Glenn Danzig, this four piece outfit revolve around their singer, songwriter who disbanded the Misfits six years earlier. His intent was to take his musically seriously, something he couldn't do with his former band mates and so he formed "Samhain", a band with a very similar image, using the same iconic font, following themes of horror and the occult in its imagery. The success of that band landed him a record deal with Rick Rubin's newly formed American Records and this is the resulting debut for both band and label, considered by many as a classic.

Danzig's voice and personality are the focal point of this record, its charm, atmosphere and attitude all swell from a creative force not heard like this before. Once an angry shout soaring over distortion guitars, Glenn tones down the format for a Hard Rock, grungy Blues Rock beast that has him singing with soul and passion over lightly overdriven guitars that kick blocks of chomping Heavy Metal groove between the mood of bluesy classic six string, plucked and strum chords arrangements.

 The blend of styles is warm and inviting, making for songs with a bit of bite and strength between its hard Blues Rock tone. Danzig's singing brings the record to life with his lower vocal range illuminating the feeling in his poetry. The riffs, words and arrangements all add up here on a lively record that's broken up neatly with Heavy Metal guitar solos tinged in a Southern Rock tone. The production is crisp for the era, the drums have an especially nice padded tone about them and it all culminates in a solid record with no weak points, an obviously classic but a style I am still becoming accustom to.

Favorite Tracks: Am I Demon, Mother

Rating: 8/10