Artist: Danzig
Label: Spitfire Records
Release Date: 6/4/02
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Title: 777: I Luciferi Artist: Danzig Label: Spitfire Records Release Date: 6/4/02 |
Judgment Committee Reviews | Rating |
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Abyss's Review:
I must admit it's been quite a long time since I really thought about Danzig. I was definitely an early fan, however, enjoying the first three albums, but once he went into his wannabe Trent Reznor phase, I dropped him like a bad habit, and really haven't missed him since. His Elvis/Morrison meets metal seemed to be best relegated to the past, and even when I heard he would be returning to his heavier roots, I didn't really find myself all that curious.
"It is melodic and soft, but at the same time dirty and raw, like a stained dress." Because of the reasons listed above, I was surprised to find myself a little excited about this album on my first listen. One of the reasons the debut made me such a fan was that, while remaining metal, it sounded like nothing else I was listening to at the time. It was melodic and soft, but at the same time dirty and raw, like a stained dress. And right from the get go, I found myself a little impressed. The intro, "Unendlich" I found very interesting (even though I still stand by the fact that intros are almost always a waste of time), a unique take on sound, and when it flowed into "Black Mass" I felt like I was 17 again, and I remembered why I liked this band way back when.
I wish I could say it got better from there. I Luciferi is an interesting album because it is always on one side of the spectrum. Some of the songs, like the aforementioned "Black Mass," "Liberskull" and "Dead Inside" are amongst some of the best Danzig songs written, and some, like "Wicked Pussycat" and "God of Light" are amongst the most worthless piles of crap ever recorded to disc. The worst songs mix Mr. Danzig's sound with an urban chic, which not only sounds terrible, but seems like a bad idea from concept to fruition. The strength of Danzig has never been his voice or his songwriting; it's been presentation and grit. Grit cannot exist without integrity and integrity cannot exist on such a conflicting release. Much like it's impossible to have an honest two-faced person, it's impossible to have a two faced album that's honest.
"I guess I'm trying to say that this could have been a really successful EP, but as a full length it's mediocre at best." But at the same time I don't want to come down too hard on this album, because the parts of it that are good, in my opinion, are very good, and they aren't that rare, as I'd say they take up between 40-50% of the record. So I guess I'm trying to say that this could have been a really successful EP, but as a full length it's mediocre at best. If the terrible songs were replaced by simple filler this album would be a 4 or 5, that's how bad the bad songs are. It did serve a purpose, however. It showed that Danzig hasn't lost 'it', he just doesn't really remember what 'it' is. One word review: (woefully) Inconsistent.
Death's Review:
I liked Danzig "back in the day," pre-MTV picking up on the live version of "Mother" several years later. In fact, I liked all of the cool John Christ guitar riffs-- you know, the dirty, disorted riffs with the bend/squeals which emphasized the key notes. I really liked the power of "How the Gods Kill" and the material up through that point. But somewhere, probably around the industrial leanings of blackacidevil, I lost the way.
Now, years later, I find myself listening to Danzig's latest release, 777: I Luciferi with open ears and a fresh perspective. Prognosis? It is pretty good. I'd call it a return to form, although I have a vague notion that the true "return" to the classic sound began with 1999's 6:66 Satan's Child, a surprisingly low-profile Danzig release put out by the E-Magine label. 777 (this time released by Spitfire Records) does return to the straightforward guitar/bass/drums sound we expect from Danzig and, although Mssrs. Christ, Von and Biscuits are long since gone, some of the riffs are cool.
"Six foot pussycat, like the way you swing your tail? I mean, seriously Glenn, what the fuck is that?" Still, while album is generally devoid of industrial and electronica leanings, and there are some good riffs and some cool songs, the whole thing comes off as mostly average to these ears. Glenn's voice, while still carrying the trademarked distinctive off-key wail at points (the chosus/pre-chorus of the opener "Black Mass" is a good example of this-- another can be heard on the heavy parts of "Dead Inside"), for the most part seems to have lost some of its power and character, generally coming across as fairly smoothed-over and-- dare I say it-- generic, at least when compared to the first few albums.
Still, some of the songs on 777 are kinda cool and many parts are kinda catchy. I like the simplicty and buidling dynamic power of "Black Mass," perhaps the most traditional-sounding Danzig song. I really like the power inherent in the contrasts of "Dead Inside" too. "Kiss the Skull" has a certain admirable metal stomp. And the main riff to the first single, "Wicked Pussycat," does have the guitar squeals I remember, but is very DIFFERENT/commercial in many ways and I really don't like it at all. Six foot pussycat, like the way you swing your tail? I mean, seriously Glenn, what the fuck is that?
"Nothing to jump up and down about, but a solid, passable release." It gets better from there. The next track, for example, "God of Light" has a bit of a Machine Head/nu-metal thing going but it works infinitely better than its predecesso, and Glenn's vocals really stand out here. "Liberskull," which follows, starts out with a Down/doom style riff. There are some cool moments here, and if you are into Danzig, you may find some stuff to get into. But to me, this is simply average to pretty good music-- not horrible, and at least it is somewhat of an attempt to deliver the kind of sound I believe true Danzig fans are probably hoping for and expecting from the band. Me? I probably won't spend a lot of time with this, but I surely won't be bashing it either.
Bottom line? It's OK, perhaps even pretty good at spots. Nothing to jump up and down about, but a solid, passable release. Perhaps the tour with Prong will help to get me on board.
Hel's Review:
I have never liked Danzig. I especially don't like Glen Danzig's voice. If any song ever recorded by Danzig is played in my vicinity, I immediately look to relocate. Can't stand it, would rather listen to nails on chalkboard. Starting to get the drift?
"This record may be the worst yet." All that said, this record may be the worst yet. Glen is hitting, or, perhaps more accurately, not hitting, more sour notes than I ever imagined possible. He still has that tuneless way in which he is utterly off key, and he seems to be more tone-deaf than ever. In the past, I have occasionally been able to take refuge in some of the backing music, but not this time. It's very, very bad - let's leave it at that. The best part of this album is the riff they stole from Pearl Jam.
There is nothing of redeeming value on this album. There is nothing of metal value on this album. There is no value at all on this album, unless you worship the tiny piece of ground Glen Danzig trods upon with his ridiculously high-heeled boots. I suppose if you have a Danzig obsession, you will savor every sour, dull note of this record. I look forward to not hearing this album again for a long time.
"There is no value at all on this album, unless you worship the tiny piece of ground Glen Danzig trods upon with his ridiculously high-heeled boots." He's lucky I don't believe in giving zero skulls, or this album wouldn't even be getting 1 skull.
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