Artist: Halford
Label: Metal-Is
Release Date: 6/25/02
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Title: Crucible Artist: Halford Label: Metal-Is Release Date: 6/25/02 |
Judgment Committee Reviews | Rating |
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3 | ||
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3 | ||
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Abyss's Review:
Long-time Rob Halford fans embraced his return to old school metal on Halford's debut, Resurrection. I, personally, wasn't all that impressed with that album, but I will admit that it had some moments. I'm not sure rabid fans will be as accepting of this album, however.
"For those of you pre-disposed to like this album, there is a good amount to grasp onto." It starts much as you would expect, with the same stripped down metal sound that the front man has belted out for the better part of 30 years. "Crucible" and "One Will" are mid tempo rockers with sing along choruses that sucker you into believing that this is just going to be another sub-par Priest sounding album. This album has a trick up its sleeve though. Soon enough the music drifts away from the standard heavy metal and drifts, subtly at first, into a much more experimental (for him at least) realm. Firstly, while there is no doubt that it is Mr. Halford singing, his voice is much more subdued than on all of his other efforts. This alone may turn off a few fans that crave his piercing wail. He does let loose every once in awhile, but it is far less often than we are accustomed to, and it is often distorted or overlaid with some other effect. This isn't necessarily a bad thing, depending on what you are looking for in this album.
For those of you pre-disposed to like this album, there is a good amount to grasp onto. The songs are catchy, and while the melodies are often simplistic, they are in many cases effective. My favorite track so far is "Heretic" which I think does a nice job of melding Halford's old sound with this new aesthetic, much more so than the awkward and sophomoric "One Will" which just comes across as half-assed and contrived. The new sound is best performed in the songs "Hearts of Darkness" (by far the most overused song title) and "Crystal" with it's chorus of "...and still she comes." (Like he would know!)
"Tacked on a skull for the fact that he's trying something new. One word review: Different." The bottom line is that I'm not sure how much the long-time fans are going to dig this thing. I mean, they're pretty much the only ones who are going to care about this thing anyway, but I'm not sure they're getting what they want from it. On the other hand, if they've remained faithful this long they'll probably like pretty much everything this guy dishes out. Tacked on a skull for the fact that he's trying something new. One word review: Different.
Death's Review:
I liked Resurrection but was not completely blown away by it. After denouncing metal and straying way too far with his Two project, Resurrection sounded like a Metal God alright; only this time, it was a Metal God with a clipped creative wing. Having literally come out of the closet and denounced metal for a spell, Mr. Halford-- surely one of the greatest metal vocalists of all time and frontman for one of metal's most legendary acts (Judas Priest)-- was back, only now he was confined to playing it safe. While it was good and it was metal and Halford's voice was in top form, Resurrection was, in the end, comprised of mostly pedestrian riffs so safe and so expected that it was clear that Rob (or Roy Z, or whoever actually wrote the stuff) was afraid to stretch any creative muse lest slower fans ever forget or lose sight of the fact that the Metal God was 100% back playing traditional-styled metal. But if art is kept so familiar that no one can ever question it, doesn't the discerning fan actually lose out in the end? So anyway, I liked it, but thought it was a touch too far in the other direction, if you know what I mean.
Enter Crucible, an album that is undeniably metal in every sense of the word yet which nevertheless manages to successfully challenge some of the more narrow perimeters of the last album, taking some greater creative licenses while allowing Halford's voice to stretch out a bit in spots. Now don't get me wrong, it's not like Halford is breaking down any musical barriers or exactly forging new ground either. It's just that Crucible feels like much more of an artistic work than an "I'm back playing metal" statement.
After "Park Manor," a fairly useless short instrumental intro (undoubtedly named for "303 Park Manor," where most of Crucible was written) the album kicks off with "Crucible," the killer title track. I love this one as any Halford fan would. The song is catchy and metal and Halford sounds awesome. "One World" is OK, but is fairly straightforward and reminds me of a slightly less sing-songy "United" from British Steel. "Betrayal" has a fairly cool yet straightforward main riff, with Halford wailing away "Exciter" (from Stained Class) style - cool, thrashy, screamy and fun.
"Crucible feels like much more of an artistic work than an "I'm back playing metal" statement." Most of my favorite moments come later, however, starting with the next track, "Handing Out Bullets," a dark and minor number that has a cool riff/double-bass drum interplay that kicks ass in almost a Nevermore sort of way (Whip the back . . . of your Messiah . . . Your peace kills by death!). Metal Mike Chlasciak's and Patrick Lachman's killer dueling guitar solos are definitely noteworthy here as well, as is the "audibly interesting yet appropriately supportive of the guitars" bass work of Ray Riendeau and Bobby Jarzombek's solid and tight drumming.
But to me, "Crystal" is the album's most hypnotic and interesting track. Halford gets to really stretch out vocally, and the track allows him to display some serious emotion and intensity, ironically even (considering Tate claims Halford as a major influence) sounding like Geoff Tate (Queensryche) at times. ". . . and still she comes." For some reason, the moment of the recitation of that line haunts the listener and really stands out. "Crystal" is a great song.
The next track, "Heretic," is just OK. The bridges remind me of an almost nu-metal style (think "Roots! Bloody Roots!") - but relax, it's only for a second amidst a killer song. The riffs are standard issue on the front half, but they are metal and display some nice thrashy runs. The next song, however, "Golgotha" absolutely rules. I love it. Halford's vocals sound strong and pure on the chorus. The heaviness is very cool. And the cool faster riff that comes in and completely changes the song reminds me of when the fast riff comes in at the end of Overkill's "Skullcrusher" or something. It is very, very cool. One of the best on the record.
"This is some of Halford's finest work." I also really like "Sun" because it gives Halford a mid-register, extended note palette to work with that builds with intensity until we get to the and when the world gets too much for me . . . part. This track in many ways ties the spirit of psychedelic-era Priest (think the Rocka Rolla album from 1974) to 2002's Crucible. It really is the same performer. "Trail of Tears," the last song written for the album, continues the feel, displaying tight riffs expertly meshed with beautiful mellow parts and perfectly timed dynamics. "Trail of Tears" shows a band that is tight and is really gelling musically. This may be one heck of a tour.
The release I have contains two cool bonus tracks as well. "She" is a "power ballad" showcasing Halford's voice and sporting touches of piano and a good production. "Fugitive" is definitely different, heavy, experimental and cool showing elements of a Tool-type influence at parts. Both of these songs are probably better than some of the non-bonus tracks. They definitely make nice additions to an already great record. This is some of Halford's finest work, surely the best since Painkiller and possibly with time I may decide I like it best since Defenders of the Faith. It surely is a five skull record. While some of you may hear it and decide you liked Resurrection better, I feel that in the end Crucible clearly makes the more emotional, long-term connection.
Hel's Review:
One thing about the way this album starts really irks me. It's 27 seconds from when the track starts until you finally hear the first note. Each time, I found myself checking the stereo, or my MP3 player, or the car stereo, trying to figure out if something was wrong. Sheesh.
Of course, that is minor. The larger issue here is whether or not the newest effort from Halford is any good. Yes, I would call it good. But I cannot, however, call it great. There are a few moments during this record that I really, really just can't wait to end. Fortunately, these moments are fairly few.
"Yes, I would call it good. But I cannot, however, call it great." On the whole, Crucible holds a whole lot of nostalgia metal. Halford, the band, continues to utilize the NWOBHM style to its fullest potential. Halford, the man, continues to be a fabulous vocalist, though there are noticeably fewer high notes reached for than in the past.
One of the best moments of the album falls in the center of "Hearts of Darkness" - a passage where the rhythm of the vocal line changes dramatically, followed by an intense musical passage, complete with guitar solo.
"Fans will surely be pleased, but skeptics will have much to dissect as well." Other songs, however, do not live up to the standard set there. Which bring us to the root of the problem: this record is uneven, at best. Both in regard to material and in regard to production value (i.e., the bass in "Crystal" sounds like its coming from the bottom of a plastic bucket). Fans will surely be pleased, but skeptics will have much to dissect as well. Ergo: 3 skulls.
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