Artist: Sodom
Label: Pavement Music
Release Date: 10/26/99
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Title: Code Red Artist: Sodom Label: Pavement Music Release Date: 10/26/99 |
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Abyss's Review:
The ever-enduring thrashmen Sodom return with Code Red, their first release on Pavement. Tom Angelripper (What kinda name is that, French?) has taken time out from singing German drinking songs to bring those 80s-loving thrashheads music that they've probably been jonesing for ever since the death metal explosion of the 90s. And these folks will most likely be very pleased at what this disc contains. Sodom have put together a quality thrash album full of tremolo-picking fun and mid-paced grooves that will get any metalhead bobbing their neck, given extended exposure. The biggest reason they will like it, however, is the same reason that I can't seem to get fully on board. What they most likely believe is a return to riff, I consider to sound a little dated. I don't think that Sodom is trying to break down musical barriers (and I get the feeling that is fine by them), but the truth is that I haven't heard anything on this release that I haven't heard before. It's refreshing to hear solos littered all over the place again, with most seeming to be comparable to the bend-wah-bridge assisted attack that is so often associated with Slayer. The album does have its moments, and when they are on, they rock. Unfortunately, they can't seem to hit it with much consistency, making this album seem more like a few good tracks surrounded by mediocrity. But it is quite possible that I'm being a little harsh, because after extended listening I really can't pick out anything specific that is wrong with this record, and I've enjoyed it while listening, but nothings sticks in my mind after the stereo is turned off. My favorite track, "Liquidation" shows how good this album could have been. It shows a strong sense of riff and grooves that just makes the blandness of the weaker tracks that much more evident. Other standout tracks include "Tombstone," "The Wolf and the Lamb," and "Spiritual Demise." This rating may seem too low for many of you out there, and you might be right, but it stands for the fact that if you're a Sodom fan, you've probably already got this and are quite happy with it, but I don't think this album has enough zest to recruit new fans into the fold.
"I don't think this album has enough zest to recruit new fans into the fold."
Death's Review:
Like a powerful but rusted machine which hasn't been used for decades, Code Red opens with the distant sounds of an awakening beast. And thus, with the opening speed riffs of the album's strangely infectious title track, the monster that was "1980s-style German thrash" roars back to life and lays waste to the millenial musical landscape. The truth is readily apparent: Sodom's current brand of brutally fast and noisy riffing stands tall with the classics of the thrash era and rips your fucking head off.
Code Red lies in the grand tradition of late-eighties thrash, like Kreator's Extreme Aggression, which incorporated an anthemic catchiness into its frenetically uncompromising attack. The album illustrates the timelessness of true metal, landing with the same force in 1999 as it would have in 1989. No matter what the year, it finds its space in the metal spectrum and knocks the pretenders on their collective asses. People who are angered when bands like Korn deny their metal status might want to rethink that opinion. They're only being fair, 'cause if Sodom is the metal standard, Korn and Limp Bizkit really aren't anywhere even near the genre.
"Code Red lies in the grand tradition of late-eighties thrash, like Kreator's Extreme Aggression." For all of Code Red's speed riffing, it's the midtempo and heavier parts that truly set the heads a'bangin'. Tracks like "Tombstone," "Spiritual Demise," "Cowardice," and "Visual Buggery" pound with the steady rhythmic intensity that can only be found in the metal genre. At times, with Tom Angelripper's shout/scream vocal blaring ("Tombstone," parts of "The Vice of Killing") and dual harmonic minor guitar fills ("Cowardice") throughout, Sodom perhaps evoke even the almighty Slayer, circa, say, Seasons in the Abyss. Only mostly faster.
Code Red at times is simple enough in its execution and straightforward enough in its delivery to call into question whether or not the Sodom sound is simply dated in 1999. After minor deliberation on this point, I conclude otherwise. There's definitely a place for Code Red in the modern metal scene. While verbally struggling over the telephone yesterday with the epic dillemna of whether to give the album three skulls or four, my buddy was a bit confused as to why I even needed to ask. "It's simple," he said. "Metal never dies."
"A ripping metal album is a ripping metal album, in 1989, '99 or '09. If it knocks you on your ass, it's good." I thought for a moment. He's right, it is simple. There's no such thing as a "dated" sound in metal -- in metal, different rules apply. A ripping metal album is a ripping metal album, in 1989, '99 or '09. If it knocks you on your ass, it's good. Code Red knocks you on your ass, through the floor, and into the apartment below. I'll always have room in my CD player for that.
Hel's Review:
Have you been looking for a classic thrash metal album? Code Red is what you're looking for. Yeah, so it's a 1999 release. It doesn't matter. I think we all wish Shit-allica was making this kind of music in this DECADE, let alone this year. Let me analogize for a moment. There's a reason why bands like Led Zepplin are eternally popular - there are still people who think that sound will never get old. This, to me, is that kind of sound. I'm always psyched to pick up an album and have it sound like this.
The title track, "Code Red" is darnright catchy. I constantly find myself singing the chorus during the day. And throughout the album, I continually notice how tight these songs are. The riffs are sick, fast and heavy. The drums alone could keep me entertained for hours. There's not a lot of sense in picking highlights, there's a highlight in each song. For instance, that cool growl Angelripper does during "Liquidation" and, oh yeah, the rest of the song!
"The riffs are so fast, time itself may actually be speeding up, just to keep pace." Now, let's think about this for a moment, there are 13 songs on this album. So why is it I think it's so short? It feels short. Perhaps it's the pure speed that is driving it. The riffs are so fast, time itself may actually be speeding up, just to keep pace. How else is it possible? Buy this album, listen to this album, and see if you can explain it.
The bottom line, if you're a thrash metal fan, or a speed metal fan, or a metal fan, you will like this album. I like this album.
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