Lars Ulrich Reveals Influences in List of His Favorite Metal & Rock Albums

Lars Ulrich revealed his fifteen favorite heavy metal and hard rock albums to Rolling Stone magazine as part of Rolling Stone’s list of their 100 favorite metal albums.

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Judas Priest – Painkiller (1990)

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.

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Judas Priest – Unleashed in the East (1979)

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.

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Sadistic Metal Reviews: Rape of Your Faves

George Psalmanazar submitted a few reviews of albums he vehemently despises to Death Metal Underground. Enjoy!

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N.W.O.B.H.M. Survivors

The New Wave of British Heavy Metal was the simultaneous, sudden emergence of hundreds of heavy metal bands in the United Kingdom in the late 1970s and early eighties. The NWOBHM was prompted by the collapse en masse of earlier hard rock bands and heavy metal originators. Led Zeppelin and other blues-based riff rock bands had collapsed into meandering stadium rock with only a couple listenable songs per record at best (“Achilles Last Stand” on Presence). Black Sabbath fell flat on their faces after Sabotage, making the meandering duo of Technical Ecstasy and Never Say Die. Punk declined from almost-progressive works as the The Stooges’ Fun House to boy bands such as the Sex Pistols playing radio pop. Deep Purple regressed to playing what their former guitarist Ritchie Blackmore termed “Shoeshine music.”

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A Comment on Bardic Tradition in metal

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The terms bardic or minstrel metal have often been used to describe bands that usually sing in a clear voice and with anthemic overtones, often imitate medievalesque motifs and write lyrics in the manner of romanticized ancient legends. Generally, the metal subgenre most readily associated with bardic expression is power metal because they advertise themselves as modern-day minstrels and theirs is the kind of catchy and upbeat music most people can latch on to most easily. The bardic spirit along with the culture it transmits, however, requires a sturdier medium that is able to etch its runes indelibly without detracting from the importance of their message.

Power metal could be described as a blend of Judas Priest and Iron Maiden mixed with the energy of speed metal. The influence of Ritchie Blackmore cannot be overstated either. In time, they developed their own tropes and particular voices that set them apart from their Briton godfathers. Bands making music in this style are known for an overt expression and presentation that falls just a little short from that of the despicable glam metal. More often than not, these theatrical habits and indulgences overshadow both the content of the music and the words, both of which come close to becoming only an excuse for narcissistic expression. The persona takes precedence over the message.

A sensible division of terms would be advisable here since the words bard and minstrel actually denote two very similar but different traditions. The bard was said to be an itinerant poet who, with the help of music, kept traditions and values alive through stories and legends written in meter. The minstrel made its most significant appearances in courts. Its main job was to entertain the nobility. The latter job’s description often overlaps with that of a jester whose curriculum included clownish acts like juggling. Here is where we find the most apt description for bands like Helloween or Blind Guardian, who willingly and naively took the latter term for themselves.

In lieu of this minstrel metal, a bardic one, with enduring power to carry and transmit the word by giving it the place of honor, is needed. Firstly, any musical tradition with this aim must achieve an optimal balance between being both evocative and submerging yet enveloping the words so that these are propelled forward, emphasized, given contour and colour. Secondly, this is metal. And as proper metal, the riff must lead.

A brief retrospective of Slayer

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Slayer blasted their way into the underground metal scene in 1983. Metal had just shifted; the genre of Black Sabbath got taken over by the Led Zeppelin fans, resulting in glam and arena rock, and was just being taken back by a DIY movement via speed metal. Inspired by that speed metal movement, Slayer took their music in a slightly different direction.

“Heavy metal and British punk, that’s what we are.” The four young men from Southern California shaped their music by instinct, applying the techniques of punk to the most intense moments of heavy metal. Iron Maiden, Judas Priest, Motorhead, Angel Witch, GBH and Discharge. It all went into the blender and the result emerged more vicious than ever before.

Woodstock – Los Angeles, CA – March 28, 1983

The Keystone – Berkeley, CA – January 27, 1984

The Country Club – Reseda, CA – September 1, 1984

Heavy Sound Festival – Poperinge, Belgium – May 26, 1985

Dynamo Club – Eindhoven, Netherlands – May 28, 1985

The Ritz – New York City – June 12, 1986

Felt Forum – New York City – August 31, 1988

Clash of the Titans – Genk, Belgium September 22, 1990

Show No Mercy reflected more of a heavy metal bias, still hanging on to the grandeur of the 1970s. By Hell Awaits, Slayer forged their own style, inspired in part by the minimalism of the Haunting the Chapel EP. Even more, the band discovered a mythology in Satanic rebellion against a world where the term “good” meant obedient, oblivious and zombie-like in pursuit of individual pleasure at the expense of realism. They hated this world, and branded it with an inverted cross in rage at its existence. This outlook was healthier than the pleading resentment of the protest rock bands and less dead-end apathetic than what punk became. Metal had a new voice.

With the next album, Reign in Blood, Slayer pulled out all stops and most melody to create the ultimate hardcore album. The metal elements infused riff structure and song structure but its energy was pure hardcore punk, the raging album that The Exploited and Black Flag always had wanted to birth. In the 1980s, endorsing Satan and singing about the dark underbelly lurking beneath our happy commercial Utopia was in itself a life sentence of exclusion. Slayer wore it with pride and as people caught on to the new music, the most extreme band in underground metal headed toward the dead center of the genre.

In response, Slayer did what few bands have the guts to do: they backtracked from their nihilistic extreme and made a melodic album, but kept the melody constrained to a sense of dark atmosphere that would not be revisited until black metal exploded four years later. South of Heaven immersed the listener in pure mood and then manipulated it to create an unnerving experience of getting in touch with emotion by leaving behind all that is human. This was the peak of Slayer and represented the end of their emotional involvement with their own music, thus afterwards they pursued ideas that others had made popular and successful, hoping to make their own form of the alien.

Happy 63rd birthday, Rob Halford

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The legendary Judas Priest frontman (born 1951) is 63 years old today, August 25, 2014. Introduced to Judas Priest bassist Ian Hill by his sister, Halford became the vocalist for the group and quickly defined his iconic style of singing and found a way to adapt it to the new style.

With Stained Class, Halford adopted what became his trademark visual imagery, which is the leather and studs clothing that spread throughout metal after that time. He later expanded this imagery to include military gear, motorcycles, whips and chains.

Judas Priest defined much of 1970s heavy metal by taking its NWOBHM sound and adding the album-oriented stadium rock feel, giving the music greater accessibility, but simultaneously focusing on strong lead guitar and use of multiple riffs to create a puzzle-piece feel.

Without Halford, Priest might have accomplished this role but not in such an iconic sense or perhaps with such amazingly flexible vocals. Halford joins Ronnie James Dio, Ozzy Osbourne and Tom Arya among others in the category of legendary heavy metal vocalists. Happy Birthday!

Judas Priest – Redeemer of Souls

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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.

http://www.youtube.com/watch?v=iBnBwc_3pXU

Judas Priest announce Redeemer of Souls

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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.