Ratings & Reviews
- When Death Comes Knocking [Video]
- King for a Day [Video]
- Making-Of [Clip]
Sometimes truly appreciating an album is being able to get past the obvious and over-analyze what it is that is being heard. One could go on and on about how a longstanding band has seen little stylistic evolution, particularly if the band in question has a very distinct niche that includes a sub-style that has been in existence for well over 20 years. Primal Fear often get pegged with the limited evolution cliche, as if this needed to be pointed out to anyone with even the slightest familiarity with bands like Iron Savior, Grave Digger and Paragon, all of which are stylistically quite similar to this peculiar German speed/power institution and have enjoyed a similarly limited stylistic evolution. Then again, when compared with those 3 particular outfits, Primal Fear has actually made a few evolutionary strides that account for the actually quite different character of Delivering The Black when compared to their earliest works. Excluding first-time hearers of this band or any other project associated with Ralf Scheepers, all will hear the usual obligatory stylistic trappings of Primal Fear's work after things started to take a slightly experimental tone on Seven Seals on this album, though touched up with a pretty enticing helping of works that hearken back to their more widely lauded early era. The intensity factor sees a major boost thanks to the inclusion of some riveting speed numbers like "Rebel Faction" and "Road To Asylum", and is further complimented by a guitar sound that's a bit more punchy and a drum sound that's a bit more compressed than the last 2 albums. All the same, Scheepers tends to rule the musical fray with his high-pitched blend of Halford and Conklin wails, yet manages to turn out a somewhat heartfelt croon from time to time. The complaints that tend to come in with the newer Primal Fear offerings, namely the introduction of symphonic, industrial and ballad elements (though they are fairly small in scope compared to the meat and potatoes of their sound, which is ruggedly centered in Judas Priest and Accept territory) will naturally not be diminished when considering some of the more auspicious songs to be found on here. A pretty strong nod to the much abused experimentation on New Religion makes a clear showing on the ballad "Born With A Broken Heart", which brings Liv Kristine in to the mix for a guest slot, though in a less pronounced fashion than was the case with Simone Simmons 7 years ago. Likewise, one can't help but hear a similar vibe from the epic and spellbinding "One Night In December" with that of "Fighting The Darkness", though this long-winded semi-symphonic anthem is a bit more animated and features a wild, Malmsteen-like guitar display out of Magnus Karlsson, another important figure whose presence has definitely served in further evolving Primal Fear's sound both in the technical and atmospheric department. But all things considered, this album isn't a full out affirmation of the experimental road that has characterized much of this band's post-Nuclear Blast material. Indeed, apart from the intoxicating epic experience that is "One Night In December", the strong points of this album definitely reach back to earlier influences. One of the truly powerful examples of this conservative approach is actually an all but full out throwback to the Herman Frank days of Accept that is "When Death Comes Knocking", which trudges along at mid-tempo yet has a perfect mix of hooks and progression to keep the listener full enthralled for its seven minute duration. Similarly, the album's closing song "Inseminoid" turns on the afterburners something fierce and listens like a faster and more triumphant sequel to the title track off of Nuclear Fire, complete with another mad solo fest to rival Malmsteen out of Karlsson. While some may continue to cleave to the idea that a band needs to either rewrite their first 3 albums over and over to stay on top of things or continually create a new sub-genre with each subsequent LP, for the rest of the music word with a taste for metal both new and old, this my prove to be one of this best albums to come out of 2014, in the first month of the year no less. The riff work sees a particularly needed uptick (the one area where Magnus Karlsson has been hit or miss) and sees a strong degree of depth. It still has a healthy dose of Painkiller, as is to be expected, but what it boasts in punishing fury it also tempers with a level of relaxed contrast that keeps it from being one-dimensional. It's ridden with cliches, yet doesn't turn out as one when all the parts are fit together. But most important of all, it delivers, above and beyond the call of duty.
I would recommend this to a friend
It looks like an import....and very cheaply priced. VERY glad I purchased.
I would recommend this to a friend