Tag Archives: fire

SKULL68

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SINNER, Mask of Sanity  (2007, MTM)

The skull:
The very first skull in the Skullection is Krokus’ Headhunter. That cover is a masterpiece of skull-and-crossbones simplicity. Sinner’s Mask of Sanity is a whole lot like that album cover, just on fire. Fire burns in the eyes, on the left cheek, on the head, even on the bones behind it. You might think that the skull, to use a song title on the album, “Can’t Take the Heat.” Neither can the wall of red clay behind it, which apparently is cracked from the heat. So, is this the mask of sanity? It doesn’t look sane. Or has the mask of sanity burned off? Which would make this skull insane. Perplexing.

The music:
This is Sinner’s 14th album. They’ve been around forever. I feel like I’ve been around forever too, but have had very few meetings with the music of bassist Mat Sinner and company. And although I appreciate what they’re doing on this album, it’s a little lackluster. “The Other Side” comes out swinging its cock in an almost glam-metal sort of swagger;  “The Sign” is a dull plod with some strained, off-key vocals. “Thunder Roar” has a bit more depth, with a cool piano theme paired with organ and chugging metal histrionics, its first minute being the most exciting thing on this album. There’s a cover of Thin Lizzy’s “Baby Please Don’t Go” that does no favors to the original, although it’s a damn fine attempt at nailing the killer guitar solos of the original. The vocals throughout are throaty and, uh, manly without being overly gruff. Kinda Blaze Bayley-like, but better than that. The music skirts the line between traditional heavy metal and AOR, which explains MTM’s interest. Ultimately, what’s happening here is territory that Sweden’s Nocturnal Rites have begun to explore and, frankly, they’re better at it than these long-running, hard-working metal vets. But hey, respect…lots of respect.
— Friar Wagner

SKULL40

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The skull:
As a piece of “art,” this cover is freaking horrible. As a skull cover, we give it major props. We have a real skull grinning a stupid grin (the missing tooth indicates this skull may have belonged to a redneck), with some creature’s (or human’s) glowing orange eye hovering menacingly behind it, almost stealing the skull’s thunder. There is photoshop fire on either side of the skull’s jaw, and very unconvincing-looking fire at that. Add a really lame band logo to all this total nonsense and you’ve got an album cover that we’re happy to have in the Skullection, but also glad isn’t sitting in our personal CD libraries. Gaudy.

The music:
Workmanlike traditional heavy metal with a thick thread of hard rock embedded inside. Kinda like Michael Schenker Group meets Krokus. There’s a speedy element to it, but not anything we can call “speed metal.” They’re trying, but the songs never gel, are kinda messy in terms of arrangement, and sometimes feel downright silly in overall vibe. The strong accent of singer Vitto and the plastic-sounding drums don’t help. Nor does that album cover. Or the band name. Or song titles like “Wolf Over 3D” and “Rock is My DJ.” Or anything. There’s a lot of dreck in the Italian heavy metal scene, and this isn’t the worst of it, but there are certainly much better. Pass.
— Friar Wagner

SKULL11

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DECEIVER, Riding With the Reaper (2005, Iron Fist Productions)

The skull:
Barely makes it into the Skullection due to its puny size, although its place upon a chopping block (at least, we want to assume it’s a chopping block) and the flames licking in the background entice and seduce us. There seem to be pins in the right cheekbone of the skull…someone met their fate at the hands of a mad acupuncturist? Nah, probably too holistic of a thing for a band like Deceiver to consider.

The music:
Deceiver plays what music scribe Simon Reynolds describes as “music about music.” That is, music that’s totally referential and utterly derivative in nature. Some metalheads like that. I tend to shy away from it. Regardless of personal prejudices, if you’re an Iron Maiden fan who cannot get enough of the ’80s German thrash metal wave, worship the Possessed/Slayer template, and like ’90s bands such as Defleshed and Aura Noir, and also go for fourth generation death/thrash, and understand that Nifelheim remains authentic above all others, then by all means indulge! Still, they’re no Nifelheim, despite them desperately trying to be. Being Swedish alone won’t get you there. But they’re broken up already, so who cares?

SKULL7

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OZ, Fire in the Brain (1984, Combat)

The skull:
Top-notch skulliness here: the skull is on fire, held in an outstretched hand whose arm is wrapped in a big studded armband, while blood drips from the fingers. And this is a photograph to boot! The skull is on the cheapo side, looks like like a wax Halloween decoration or candle, but it’s passable. And the best thing: the hand/arm belongs to none other than Bathory mastermind Quorthon. It does NOT get more metal than that.

The music:
Of all the albums Oz have recorded (there are sixth full-lengths to date, and they’re threatening more), this is definitely the best and only mandatory one. It’s traditional heavy metal, not black or death or thrash, but still very much on the sinister side, both in lyrical focus, the nature of the riffs, and the dirty, murky recording. Vocalist Ape DeMartini chortles in an Udo Dirkschneider sort of way, while bassist Jay C. Blade proved himself a songwriter of uncommon skill. His strongest songs are stacked on the first side of the album, a near-perfect set of dark metal burners, while the second side’s “Gambler” and “Fire in the Brain” measure up nicely with the first four classics. The other two are great too. Too bad the quality didn’t carry much steam past this album, as follow-up III Warning bordered on forgettable.
— Friar Wagner