Black Sabbath - Paranoid (1970)

My first contact with Black Sabbath was through a German TV ad in the 90s, which used the song Paranoid for a quite silly recreation of that famous scene in Wayne's World. It wasn't even the original song but a pretty close cover version, which - in retrospect - seems quite fitting: play the pastiche of a cult song in a pastiche of a scene from a cult movie.

Anyway, I started my enquiries (luckily rock and metal is strong in my family) and after I learned song title and artists name, I went to a local record store, bravely ignored the rather stupid cover motive, bought the CD and well, music wasn't the same again after listening through this album for the first time.

While their first album is generally seen as the birth of heavy metal, thanks to their trademark sound* and gloomy subject matter, things really took off with their second album, Paranoid.
Released just months after their debut, you would maybe expect this record being an afterthought, but to the contrary: the amount of power and doom the band unleashes here is just spectacular and literally unheard of. With Paranoid the band definitely found their groove and cranked up the dials to elven!

Lyrically the album moved away from the supernatural/satanic imagery of songs like Black Sabbath or NIB towards a more gritty, real-life perspective, with the danger of the nuclear apocalypse (War Pigs, Electric Funeral), insanity (Paranoid, obviously) and drug addiction (Hand of Doom) being the overarching themes. And the album clearly benefits from this shift. It's songs still speak to us and possess a timeless, intimate quality.

The atmosphere of its lyrics resonates in the music itself: The bluesy-jazzy vibe of its predecessor is almost gone; exposing the bare bones of the bands heavy riffing and drumming. In fact, only the screaming, psycho-esque (you know, that shower scene) high notes in Iommi's soloing are a descendant of his jazz-influences. The result is a more condensed and focused record with no frills. And a pretty bleak one. The perfect soundtrack for the apocalypse and a how-to-guide for generations of upcoming doom bands.

*And lets be fair: neither of the other two big heavy rock bands of the early 70s, Led Zeppelin and Deep Purple, had that an uncompromising sound. So kudos to Sabbath for changing the game.

Uli Jon Roth - Under A Dark Sky (2008)

Ok, this one didn't made it easy for me, but in the end it was quite enjoyable to write this review.

Uli Jon Roth, former lead guitarist with the Scorpions (long ago, back in the day when they were quite progressive and actually cool) has quite the reputation as guitar virtuoso and eccentric (which is quite an achievement for itself in the rock/metal genre), so its wise to expect the unexpected.

I like the basic idea of Under A Dark Sky: A concept album as a commentary on mankind's self-destructive ways, which eventually could lead into a catastrophe. That's always a winner for me.
The result though is a mixed bag. Between the highs of real greatness and the lows of utter kitsch.

To give you an impression: The album begins quite strongly with the track S.O.S., and - true to its subject matter - the sound of air sirens, morse-code and several voices declaring red alert building up a dramatic, film-score-like atmosphere. The voices are getting answered by a choir demanding "save our souls", underlined by a dramatically ascending electric guitar solo, before it falls into a shy, bittersweet melody.

All in all a very captivating start, but sadly a lot of the following material can't keep up and meanders somewhere in the acoustic no-man's land between operatic/musical orchestration and kitschy new-age tunes. With a good measure of virtuoso electric guitar solos thrown into the mix.

The tragedy is that there is certainly no doubt about Roth's skills as a musician. It is all wonderfully arranged and played, with some blisteringly beautiful solos. Same applies to his guest musicians.
It's more that, with all his theatrics, his taste fails him. His musical language is quite specific and the line between effective theatrics and simply kitsch is very thin - too thin for him. It's something I noticed in his other solo-works before: They are always displays of blistering playing technique, but when it comes to making use of it in a dramatic sense, it too often becomes comical instead of captivating.

Lyrically its a similar picture: The mix of English lyrics with German bits and pieces thrown in just feels quite artificial and over the top. It could have worked better if he had used them in more moderate doses. Which brings us back to the main problem of him as a musician: Uli Jon Roth wants too much. He is releasing all stops, puts everything into his music, shoots the moon and - misses.

I think its fair to say that Uli Jon Roth isn't quite on the same page as most of the rock and metal world. That's in theory not a bad thing at all, since most is pretty formulaic and uninspired, but sadly the alternative he brings up can't fully convince either.

This doesn't means the album doesn't has its good sides. It certainly has. In parts it is truly outstanding. It's absolute peak is the last track, Tanz in die Dämmerung (dance into the dusk), a monumental, almost 20 minutes long, epic. Dark and tense, starting slowly with some uneasy intervals played on Spanish guitar, and escalating into a wild frenzy. Mankind's dance into the catastrophe.
It end in sudden silence just when you would expect a resolution. Like a plug being pulled. In fact the songs ends so abruptly that some people thought their CD was damaged. A perfect metaphor of Roth's songwriting: instead of serving the expectations of his listeners, he surprises you with something unexpected. And here, instead of ending in a typical thunderstorm of noise, as so many bands would have done - there is nothing. Just as nothing would be left from us, if the big nuclear catastrophe strikes. A dance on the volcano - and then dead silence.

So despite its obvious weaknesses, I can't really condemn the album. It certainly has its highlights and grows on you with repeated listening. Keep in mind though that, if you expect anything like the Scorpions, get ready for a disappointment. Roth left the band in the late 70's and the music he made since certainly doesn't sounds like them at all. So better go into listening this record without any expectations or preconceptions. Its not going to be an easy, straightforward experience.

Type O Negative - Bloody Kisses (1993)

This one is in a way special to me. I even had a poster of this cover around the year 2000 - and a T-Shirt as well. And it still remains one of the most beautiful, touching - and sensual - record covers I know.

Fortunately the music itself fits just perfectly. Its a dark and sensual record. With its heavy, abrasive (yet in the context of the songs very fitting) guitar, the slow and atmospheric songs and Peter Steele's deep and tender voice whispering in your ear.

Despite its overarching doomy nature, Bloody Kisses is quite diverse actually. The album takes you on a journey of different moods, yet the individual tracks seem very coherent with each other. A bit like in a dream, where one scene transmutes into another, keeping the listener moving in a flow of different feelings and stories to tell.

The album achieves this with absolute spot-on tempo changes and instrumentation. Everything just fits seamlessly into each other. Purely masterful.

Its hard to point out certain songs. Despite its runtime of about 73 minutes there aren't really any filler on this record. The songs all have depth and their very own unique character.
There is the obvious Black No. 1 of course with its sarcastic look on one of Peter Steele's ex-girlfriends and the goth-scene in general.

Or the Seals & Crofts cover Summer Breeze, which got a completely new and different life in this incarnation. I was actually quite shocked to hear the original for the first time. The Type O Negative-version just feels so natural - and right - to me.

Naming some of the other highlights of the record, like Set Me On Fire, Kill All The White People, Christian Woman, Bloody Kisses, and we are already almost through the whole tracklist. It's indeed hard to find a weak song on Bloody Kisses.

To make a long story short: Bloody Kisses is a masterpiece of a record and (at least to me) one of the definite albums of the 90s. A brilliant, intimate soundtrack for your own private melancholia. Light some candles, open a bottle of red wine and press play. To paraphrase the band itself: This album will hit you slow, deep and hard.

Queen - Innuendo (1991)

It is possible to look at an album like Innuendo without the context of their singer, Freddie Mercury's illness and approaching death? Not for me. It is just shimmering through every song and note.

Queen's last record published in his lifetime is a foreshadowing, moving, theatric in the best sense, and graceful piece of music. Upbeat at time, almost defiantly so, especially in its faster songs, it however can't hide its sadness: the very human struggle with one's own mortality. Here is a singer who, facing the inevitable, literally sings for his life.

Framed by the majestic album-opener Innuendo and concluding with the emotional tour de force The Show Must Go On, the album is a kaleidoscope of tunes, themes and moods - each single one of them is strong, even captivating. There isn't any filler. From straightforward rockers like Headlong and Ride The Wild Wind, to the playful and carnivalesque I'm Going Slightly Mad, to fragile gems like Don't Try So Hard and Bijou - Queen covers such a wide variety with such masterful musicanship.

Innuendo is really Queen at their peak. And when the last note is ringing out and silence creeps upon you, you might feel a little lump in your throat. What a record!

Van Halen (1978)

It's probably fair to say that this album started the 80s. At least when it comes to hard rock/heavy metal. Such energetic songs, the top-of-the-line production and, most critically, Eddie van Halen's groundbreaking guitar.

He is often described as the one who brought tapping to the electric guitar, but while its certainly a spectacular technique, I actually rate his characteristic sound (the so-called "brown tone", the blueprint for the 80s-typical high gain) and his masterful use of the instrument in the context of the songs actually as his bigger achievement.

Like Jimi Hendrix ten years before him, van Halen's playing blends rhythm and melody together so naturally, so skilfully that its just sheer exciting joy to hear these songs. So much talent, yet so much tasteful playing for the songs and not for the sake of virtuosity (well, most of the time).

Ain't Talkin' 'bout Love is a perfect example for that. It kicks off with this brilliant riff (its a bit overused maybe, but that's not the riff's fault!), which still sounds modern despite being recorded 40 years ago. Same applies for the Kinks-cover You Really Got Me, which feels like a natural evolution of the original song. After all, the Kinks where amongst the first who experimented with distorted sounds. Namely on this very song, so there is that.

Eruption, on the other hand, is a different animal altogether. I remember when I listened to it for the first time and it sounded so futuristic. Like the guitar turned into a synthesizer in some parts - brilliant!
Of course its pure technique-wanking, lets be straight about that. A highly skilfully played tapping demo and it can't hide its nature, despite being played with a lot of melody and taste. It therefore sounds a little dated today. Tapping is not as revolutionary anymore and shredding became commonplace really. Or - even worse - something like a sport.
Therefore, Eruption feels to me now like a magician's trick when you find out how he did it: the sense of wonder simply has worn off a bit.

This doesn't stops being Van Halen's first from being a outstanding, game changing record and really fun to listen. The duo Eddie Van Halen (guitar, of course) and David Lee Roth (vocals) works together so congenially and turns the album into a damn good party.

Lyrically the album ticks all the boxes of sleazy cock-rock. But you don't listen to Van Halen because you expect something meaningful or even poetic, so don't expect to get it.

All in all, its a spectacular record. Probably one of the best debut albums of all time. Technically and musically it is still brilliant and quite timeless. The only weak spots are the shallow and sleazy lyrics really, but with that Van Halen are in excellent company.

Lacrimosa - Revolution (2012)

At the end of the 90s, when my music-horizon expanded into the dark side (because of the cookies), Lacrimosa was one of my favourite "newish" bands I was listening to. I loved their particular blend of slow, doom-influenced gothic metal with complex arrangements and the bits of classical music thrown into here and there.

Sadly, around the year 2000, with their album Elodia, the classical bits took over and pushed the metal aspect into the background. It was for me all just too polished and - tame. So began to lose interest into the band until a couple years ago, when I started to rediscover some of the old stuff, I used to listening to. I guess for some people such rediscoveries can be quite a shock ("I was listening to THAT???"), but for me it was quite a pleasant experience so I began to delve into their more recent material.

Which brings me to their 2012 album Revolution. Its a much rougher record than what they did when I left them, and I am quite happy about this. Sound wise it is closer to albums like Satura and Inferno, but with a level of angst and aggression in its lyrics I did not expect to hear from this band. It is a bitter reckoning with our modern society. A society that is heading to self-destruction by vain ignorance and pure greed.

And it is brilliantly written. Take the song Feuerzug (Part 2), for example: The singer describes a burning train (a Feuerzug) that is jumping out of its tracks. First he appears to be a distant observer. Full of disbelieve about what he is witnessing, until he realizes the train is unstoppable; destroying everything on its path - and is heading towards him and everyone he loves.
Eventually he understands that he himself - and actually every single one of us - is sitting in the train and steers it into its doom.
Today, six years after the album's release, with all the recent political developments, his words ring more true than ever.

Revolution is probably Lacrimosa's bleakest album. It sounds so pressing and dark. Vicious at times. A more than welcome change in direction, if you ask me. It might not debate the nicest things in life and certainly is far away from any dark romantic sentimentalities of their past - but that's exactly what makes it so interesting and compelling.

Black Sabbath (1970)

There are barely more genres a single album is said to have originated than Black Sabbath's debut. I'm not going to list them all, but rock music definitely hasn't been the same since. Other bands might have experimented with heaviness in their sound as well, but the sheer amount of rawness and doom the first couple of minutes on this album evoke - for a big part thanks to Ozzy's haunted madman voice that brilliantly complements the instrumental part - were something new and literally unheard of. The band later said that their inspiration for their name and sound were horror films and well, it shows!

Beside all its heaviness - and there is plenty - Black Sabbath eponymous first album album also shows that they didn't fell from the sky as the band they are known as, but evolved into it. There are still some strong bluesy, even distinctively jazzy elements in their playing that were pretty quickly phased out in later songs. Especially in the second, more improvised half with Sleeping Village and The Warning have the feel of a heavy-rock-meets-jazz jam really, which actually works really well.

Another quite distinctive attribute this album has is its raw, unpolished sound, which has almost live-qualities. If we can believe guitarist Toni Iommi, and I do, the album has been recorded on a single day, with very few overdubs. Quite the opposite of what they would do just in a couple years time, where the studio sessions dragged on for weeks, even months.

Like many debut albums, Black Sabbath isn't as perfect and polished as their later work, but shows a band that has opened the gate to a new world. In the coming years they, and after them many other bands would step through this gate and continue upon what this album started.