Judas Priest just announced four shows in Germany next year.No Comments
Article contributed to Death Metal Underground by George Psalmanazar, continuing his series of Judas Priest reviews.
Painkiller is Judas Priest‘s most consistent studio album coming out right after the band spent the entire decade of the 80s pandering to mainstream arena and glam rock fans. Slayer were a tremendous influence this time around; Judas Priest toured toured with them in the late 80s and subsequently listened to most of Slayer’s studio catalog. Painkiller there is a heavy metal album heavily influenced by the heaviest speed metal bordering on early death metal. Early power metal took a similar approach but in much more limp-wristed way.27 Comments
Article contributed to Death Metal Underground by George Psalmanazer.
Judas Priest started life as just another Led Zeppelin influenced band in the early 1970s. Quickly they became massively influenced by Black Sabbath and especially Thin Lizzy. Priest adapting the counterpointed riffing and harmonzied melodic guitar leads of Thin Lizzy into a mixture of progressive rock and the then new heavy metal of Black Sabbath but with operatic vocals instead of Ozzy “singing” the riff through his nose kicked off the New Wave of British Heavy Metal in the late 1970s.29 Comments
Judas Priest contributed much to the science of metal riffing. Where Black Sabbath strung together power chords into long phrases, Judas Priest and Iron Maiden re-introduced lead picking to this role as well with guitars that harmonized each other; Iron Maiden focused more on melody, where Judas Priest narrowed its exploration to the use of structure in riffs to get around the predictable patterns and rhythms still inherited from rock music. The band straddled the line between rock, hard rock and heavy metal.
Over the years, the band has unlike any other metal band explored any influences it could make meaningful. In the 1980s, Judas Priest explored electronic sounds and applied them to a type of hard rock/metal tinged with industrial and synthpop influences. In the early 1990s, the band took on Slayer and death metal with perhaps its highest musical point, Painkiller. Two decades later, the band both returns to its roots and attempts to find new directions for an artform which has lost sense of its urgency.
Redeemer of Souls begins with a pure hard rock track that shows off bluesy guitars and familiar rhythms and riff forms from 1970s-1980s radio hard rock. Perhaps the idea is to start the album slowly, or to have some track that can make it onto radio, but this track probably turned off most actual music fans because it is the metal equivalent of a cliché. After that, the band launches into more ambitious fare that quotes from the past styles of Judas Priest but tries to work in the rock appeal that marked its earliest albums. Hints of Ram it Down merge with a mainstay of pulsing rhythms from the Painkiller and Jugulator years slowed down to fit within the more sedate pacing of early Judas Priest.
Occasional citations can be heard to diverse metal bands including Metallica and at least one riff that sounds like later Iron Maiden. The band experiments with a number of variants on the theme citing mostly from rock favorites, such as the ballad and classic country, as well as working in a number of rock tropes in lead guitar and rhythm. Halford’s vocals take on a more restrained and sentimental approach. Tipton’s influence emerges through a style that fits classic Priest with a leaning toward the bluesy over the progressive or more metallic structured solos of the past. Where more intensive metal riffing emerges, it tends to lead not to an expansion on the same, but to a more vocal-centric and slower-paced take.
Redeemer of Souls like many later albums from groundbreaking bands revisits many successes of the past and mixes them in with known crowd pleasers, but seems focused more than Judas Priest in recent memory on fusing rock and metal to escape the sterile and eclectic but unfocused material of the jazz-lite fusion years of recent metal. While Redeemer of Souls has moments of power, its focus on breadth and variety leaves it feeling less like an album and more like a collection of singles, and experienced Priest fans may find it both approximates past releases too much and fails to leap to their level of intensity.
Legendary heavy metal band Judas Priest have released their first new music following the departure of longtime guitarist K.K. Downing. Entitled “Redeemer of Souls,” it is the first single off the upcoming album of the same name. It reveals a band simultaneously keeping with modern expectations of heavy metal composition and production and staying loyal to their roots in the NWOBHM movement.
“Redeemer of Souls” will trigger mixed reactions. While it shows some updated sound, this track at least is standard heavy metal fare, avoiding the later attempts of the band to update their sound after the explosion of speed metal reshaped the metal landscape. In a statement, guitarist Glenn Tipton confirmed the conservative nature of the album:
Sometimes in the past we may have come under fire for being too adventurous musically – so we have listened…From start to finish, Redeemer of Souls is 13 songs of pure classic Priest metal.
Judas Priest achieved its universal acclaim for its development of heavy metal into a cogent, distinct art form. Later to become one of the two main pillars of speed metal’s foundation (along with punk), the band has maintained its central status as a metal icon for decades, despite perhaps a natural decline as the band goes into its fifth decade. Redeemer of Souls will be released in America on July 15th via Epic Records.3 Comments
K.K. Downing, one half of the legendary guitar team from NWOBHM band Judas Priest, is launching “The Future of Heavy Metal,” a business dedicated to showcasing new bands and helping them get discovered. Along with longtime promoter Dave Coleman, his new venture is essentially a mini-tour that collects promising local bands and delivers them to clubs in exchange for a fair payment to the band.
“In the past when you had some interest from managers or record companies you could get advances. Record companies would give an advance to buy instruments or make a record. That’s not happening any more,” said Downing. “It’s going from bad to worse too and bands are actually being asked to pay to buy onto a tour which goes against the grain. But to find the money to pay as a guest is not do-able unless they have got rich parents.”
The first crop of bands being showcased include Midland acts Hostile, Under Blackened Skies and Fury, along with French band Moray Firth. According to an article in his local paper, Downing considers Birmingham and the Black Country in the Midlands to be the spiritual home of heavy metal, and accordingly, is helping perpetuate the movement into the future.3 Comments
Legendary heavy metal band Judas Priest has announced that they will be releasing concert footage off their last tour. Entitled Epitaph, it features the band playing selections ranging the scope of their long career. The film will be screened at select theaters starting in May, culminating in worldwide release on May 28 on DVD.
Says the band: “The Epitaph world tour came to an exciting conclusion at the renowned Hammersmith Odeon (now known as the Apollo) in London. Knowing our fans around the planet recognize that venue for many legendary metal moments, and of course with Judas Priest being a British metal band it was the perfect gig for us to film and record. Big thanks as always to you our metal family of fans – so start banging your heads one more time with us as we scream together ‘The Priest is back!’”
As one of the earliest heavy metal bands, many later genres were influenced by Judas Priest. The band was one of the first to use rapid palm-muted riffs and connecting structures that later inspired speed metal, death metal, and proto-black metal bands.1 Comment
Stylistically and in terms of execution, this is perhaps the most important album that Judas Priest made. Some will argue that the Sad Wings Of Destiny album from 1976 was the record that encapsulated this, though the reviewer picks Stained Class on the basis that it shapes and crafts the periphery of what was yet to come from a still young musical form. The origins of extreme metal are hinted at in pieces such as ‘Exciter’, which elaborates further on the quintet’s advancement towards more aggressive techniques and motifs, heavy on palm muted rhythmic guitar riffs and rapid fire double bass pedals, overlaid with Rob Halford’s banshee-like falsetto and lead guitars which although in terms of patterns and scales are not yet free of the restraints of rock music from previous decades, clearly set a benchmark for the revival of neoclassical technique in the metal genre. This is additionally showcased in both the follow up piece ‘White Heat, Red Hot’ the title track and ‘Saints In Hell’, more adherent to mid-paced tempos though in terms of form, the same development is obvious.
‘Invader’, ‘Savage’, and ‘Better By You, Better Than Me’ are all anthemic, semi-melodic numbers that are more standardized than anything else on this album, and is easily of the quality of the best material that permeated the disappointing predecessor Sin After Sin. As is with much work within earlier NWOBHM, this creates a solid base that allows for the most joyous segments of this album to thrive so well. ‘Beyond The Realms Of Death’ which is by many seen to be a seminal piece for this band, is an excellent piece of balladry, to which a clear lineage of the more subtle, ‘slow burning’ work of Iron Maiden (“Children Of The Damned”), Manowar (“Valhalla”, “Bridge Of Death”), Bathory (“One Rode To Asa Bay”, “Twilight Of The Gods”), Metallica (“Sanitarium”, “Fade To Black”) can trace a root. With the exception of perhaps their triumphant Painkiller opus, this remains their most consistent and advanced work, and shows an act at their most vital and relentless. Metal was forged here.