That's not Bill Ward!http://www.thrashhits.com/2013/01/2013-album-preview-black-sabbath-13/
Since the death of
Heaven and Hell’s front-man Ronnie James Dio in May 16th, 2013, rumors had been
circulating for an original Black Sabbath reunion, which had been both welcomed
and denied by band members until a formal announcement in November 11th, 2011
at the Whiskey a Go Go with all four original members and Rick Rubin. However,
it was later announced that original drummer Bill Ward was having contractual
issues and omitted himself from the band until a signable contract could be
provided. There has been a fury of rumors stating that he couldn't play anymore
and a diagnosis lymphoma from Ronnie James Dio incited Tony Iommi to get one
with it. So they proceeded with drummer Brad Wilk, of Rage Against the Machine
and Audioslave. Jump to 2013, the release of their latest output is upon us,
come June 10th, and streaming itunes is the standard album in its
entirety. This is the review of Black Sabbath’s 13.
The first song “End of the Beginning”
resembles their first song “Black Sabbath” from the album “Black Sabbath” with
a slow doomy melody at beginning and ominous lyrics, then kicks into high gear
with a fast paced solo and then slows down again as a resolution. The song
follows a three act structure, unlike “Black Sabbath” and is a solid song. Like
the next song on the album, this song runs at eight-minutes and takes it time,
however, the differentiation in tone and riffs will entertain nonetheless
Next, the first single from the
album, “God Is Dead?” and with a title like that it seems like a bold move to
alienate potential listeners. Then again with a name like Black Sabbath and
years of accusations of Satanism, people who would be sensitive to such subject
matter wouldn’t be listening to this band. In reference to a quote by German
Philosopher, Friedrich Nietzsche, lyrics describe someone deliberating whether
God is truly deceased and coming to grips with it. Like End of the Beginning,
it has a slow guitar work at the beginning with intermissions of ascending
guitar and bass riffs with accompanying drums until it all culminates into fast
rhythm section. As stated this was the first single from the album released in
back in April 2013, for many people this was the first song they heard. It
takes time to grow on you but ultimately isn’t a standout song.
The third song on the album is
“Loner”, which for those familiar with Black Sabbath's discography, the riff
and bass-line mimics the signature riff of N.I.B. off the first album. In that
sense, this song demands head-banging and is one of the more fast-paced songs
of the album as it runs at five minutes. The song is not as thought provoking
as the first songs as it tells the story of an outsider and could easily be the
most poppy song on the album.
“Zeitgeist”, or “Return to
Planet Caravan” as it should be called, opens with laughter rippling into
synthetic sound effect which dissolves into acoustic guitar and bongo drums.
Osborne’s distorted vocal, and it’s likely that they used the same technique
they used on the “Paranoid” album of Leslie speakers. The original song was
about floating through the universe with one's lover, and it seems that Sabbath
has returned. It is the only song that could be described as easy listening,
which this reviewer would describe it as ‘boring.’
“Age of Reason” will certainly
shake you from your dormant sleep as it returns to the doomy strumming of Tony
Iommi’s guitar. With the exception of “God Is Dead?” each song has a distinct
linage to a song of the past; however, this one sounds like a new creation.
Drums launch the rest of the band into action but ultimately this is Tony
Iommi’s moment to shine with an extended solo. The input of a choir in certain
moments of the song is a nice touch
“Live Forever” is the bastard
child of “Children of the Grave” and “Hole in the Sky,” and like those songs,
it is a good song, but unlike those songs, doesn’t amount to anything
spectacular. It’s a solid song certainly, however, it trudges along
undistinguished within Black Sabbath’s catalogue. “Damaged Soul” calls upon
heavy metal’s predecessor of blues and Tony Iommi solo and guitar work
throughout the song is the centerpiece of the song.
“Dear Father”, the last song on
the album, contains a tangible ambience as if you’re transported into the
recording studio and can guitar picking and ascension. It cannot be overstated
that Tony Iommi is the master of riffs and handles his guitar better than most
people handle their lives. The song ends with the same doomy church bell intro
found at the beginning of their first album and ends “13” as if it were the
bookends of Black Sabbath’s discography.
Overall, “13” is exactly what anyone would expect from
this Black Sabbath reunion. This is a review of the standard album and there
another three to four songs provided on various deluxe editions and Best Buy
exclusives. Half of the album has a startling resemblance to their early work,
even to the point of retreading ground. Ozzy Osbourne returns to the Black
Sabbath as if thirty years hadn't pass and distinguishes himself from his solo
career. The standout performer, as always, is Tony Iommi who brings back the
master riffs and brooding guitar, and Geezer Butler complements these riffs
with his bass. Brad Wilk does a fine job, however, it is inescapable to hide
from the angered metal maniacs wanting a true reunion with Bill Ward. Bill Ward
would certainly bring in improvisation and the album would be all the better
with his involvement. Ultimately this Black Sabbath album doesn't step out of their
comfort zone to present something of note; it is in the end a very solid album.
It would be very controversial to step outside the Black Sabbath formula, so
metal fans will rejoice for Sabbath’s return.
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