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

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

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

T.S.O.L. "Dance With Me" (1981)

The True Sounds Of Liberty (T.S.O.L.) are an American Hardcore Punk band who release this, their debut album, in 81 not long after releasing a self titled E.P. This record saw the bands shift their sound in a new direction, something they would continue to do as they progressed through their career, which is still going today despite disbanding and reforming in the 90s. A stranger at a Public Enemy show recommended this record to me seemingly at "random" and I doubt I would of found my way to it otherwise. Since then its been a short record that I turn to from time to time.

Aesthetically, T.S.O.L. have a fairly average Punk sound, unapologetic vocals, simplistic and overdriven chord led guitars, energetic drumming and a bass guitar thats bold presence and involvement in the music is refreshing and a rewarding part of their sound. Rough around the edges, the production is fairly impressive considering the times and value of an "underground" act. What makes T.S.O.L. stand out is their creative musicianship and theme. Through these 11 short songs the group keep a varied approach that gives each track its own identity and flexibility to be inventive and inspired creatively, again the bass guitar often being heavily involved in some of the more progressive and unexpected moments.

It wasn't until recently exploring Gothic Rock (Christan Death, The Cure, Fields Of Nephilim) that I thought of this record and realized its strong Gothic overtone. Although the lyrical content is more socially, emotionally aware, their is a definite tinge of Gothic culture in there, maybe most noticeable on "Silent Scream". It gave this record a unique theme and identity I noticeably enjoyed. This "review" wouldn't be complete without a mention of the track "Code Blue" a comical tongue in cheek number about necrophilia that is packaged with their most catchy and rockable instrumental, definitely one of the highlights of this short record, which at 25 minutes often leaves me a little disappointed with its length, however these songs are short, to the point and devoid of filler. A quality album with a fantastic vibe.

Favorite Songs: Code Blue, The Triangle, I'm Tired of Life, Love Story, Silent Scream, Funeral March, Dance With Me

Rating: 7/10