Artist: Steel Prophet
Label: Nuclear Blast
Release Date: 5/15/01
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Title: Book of the Dead Artist: Steel Prophet Label: Nuclear Blast Release Date: 5/15/01 |
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Abyss's Review:
While their last album, Messiah, eased me past the pitfalls of modern American power metal with their sturdy guitars and solid approach, Book of the Dead, has me reeling in the other direction. Whereas the older album seemed interested in solid riffs, Steel Prophet now seem to be content throwing together wispy riffs that contain more bounce than bite.
"This really could’ve been the album this band used to break away from the pack. Unfortunately, they just threw themselves back into the masses." This album seems to go off (even more-so) into the realm of Helloween, but comes up short when it comes to substance. Don’t get me wrong, everything is still here, but it seems like it’s mailed in rather than forced through. The melodies try their hardest to embrace the listener and to drag him/her in, but they aren’t enough to get this thing moving. The riffs themselves are devoid of all things hefty; leaving everything that surrounds them limp and innocuous. The album is summed up literally and figuratively by the song “Oleander”, a bouncing nursery rhyme that belies the overall inertness that permeates this entire album.
I probably wouldn’t be so hard on this album if it weren’t for its predecessor’s ability to break away from at least some of the stereo-types that hound this genre, but this album gives the appearance of concession, which is a shame because this really could’ve been the album this band used to break away from the pack. Unfortunately, they just threw themselves back into the masses.
Death's Review:
I'm bummed: I'm not that into the new Steel Prophet.I mean, I thought I was digging on the band's last album, Messiah, which I called "meat and potatoes American power metal" and described on this site as No Exit meets Screaming for Vengeance. Unfortunately, Steel Prophet now take a step in the wrong direction by "modernizing" their sound on Book of the Dead, conforming it more to the current tastes and place it more in line with the more melodic and trendy European power metal crowd. This time: it's Keeper of the Seven Keys meets Powerslave (tell me "Escaped" isn't the "Aces High" riff) meets Folkemon meets 2112 (vocally, it's Bruce Dickinson meets Geddy Lee all the way).
A subtle difference, perhaps, but enough to detract from my enjoyment by adding bouncier, happier rythyms instead of the Judas Priest-style ass-kicking these guys previously employed. I suppose it is a sign of growth: The band is moving away from what I call "the Primal Fear metal tribute band cliché (I sat and watched Primal Fear at Metal Meltdown 3 and fluctuated between thinking how awesome they are and how sad it is that they are so blatantly ripping off Judas Priest and no one seems to care)." They continue to grow and evolve the Steel Prophet sound. For that, they should be commended. Sadly though, they are taking things to a place I'm not that psyched to be. Surely many of you will disagree. Book of the Dead is a good record, not a great record. Exactly the type of album I think of when I think, "three skulls."
"I'm bummed: I'm not that into the new Steel Prophet."
Hel's Review:
Favorite songs: “Burning into Darkness” and “Soleares”Steel Prophet = power metal. Never question that. Their weaknesses are clear: the bass line is mixed so low in the production that I remain partially unconvinced that it actually exists. The vocalist has a slightly nasally voice and lacks strength on the high notes, but is otherwise extremely competent. The lyrics vacillate wildly between thoughtful social commentary, mystical references, pop culture references, and just plain silliness. Could someone explain “Oleander” to me, please, and also how this could possibly be a good way to end the album?
The strong points are also clear. The melodic dual guitars are the highlight and focus of the band. These parts are by far the most interesting and entertaining aspect of the band. The drumming is straightforward, not generally flashy or particularly hectic, but completely solid. What I can hear of the bass line sounds amazing, and causes me to long to be able to hear it entirely. The musical composition of the songs is impressive overall, the use of 30-second songs at significant intervals is inspired - the use this device to mirror a similar one used in books to enhance the idea of the album as a book…
"Book of the Dead is definitely a mixed bag, but one that contains kernels of metal gold worth digging for." When embroiled in a particularly clichéd or cheesy moment, I feel strongly that this is a 3 skull records. Other times, generally during a particularly inspired guitar riff, I think to myself, “this RULES - 5 skulls!” But a 5 skull riff does not a 5 skull album make, so I believe the only fair, sane, sensible thing, it to ensure somehow I never hear “Oleander” again, pretend I never heard “Oleander” in the first place, hand the record four skulls, and call it a day. Book of the Dead is definitely a mixed bag, but one that contains kernels of metal gold worth digging for. And I recommend skipping “Oleander” - that song stinks more in thirty seconds than most songs can in three minutes.
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