Release DetailsLABEL Cruz Del Sur Music
RELEASED ON 7/26/2006
Bible of the Devil
The Diabolic Procession
posted on 8/2006 By:
These guys always deliver. Whether it's a guided tour through your catalog of classic rock and bridge metal albums, or just an immersing rock n' roll experience you seek; Bible of the Devil ceaselessly reward.
Since this band stepped into the scene a few years back with Firewater at my Command, their brand of fluid, dancing rock n' roll has been too eloquent, too ambitious, and too smart and striving to be slapped with the revivalist tag. However, each song is informed by a record collection just as comprehensive as all the rock nerds that live and die for this kind of stuff. And, in turn, they each offer up moments where you can point at your stereo and scream, "Oh that's right out of Killers!" or "This is just what Blue Oyster Cult would sound like if they ever got a decent production." I won't list all the greats this band culls inspiration from, because there isn't the room for all I know, and there are probably twice as many I haven't ever heard of. If real, guitar driven rock music had remained a viable commercial commodity past 1975, Bible of the Devil would be probably playing on your radio, and touring with the latest incarnation of Saxon.
But, what makes BotD such a satisfying listen for metal fans is their aspiration to be more than just competent nostalgia-rock outfit. This group isn't just paying tribute, but making monuments of their own. "Sepulchre" is a hurricane of twin guitar melodies that's driven by a pulsing, single minded rock beat. "Orphans of Doom" is undeniably a heavy metal tune, that bristles with the kind of epic majesty that bands like Slough Feg and Brocas Helm admirably devote entire careers to making. The brief solo that blindsides this track at around 3:25 is evidence of a band that has a lot of tools in their bag, and isn't afraid to pull them all out on every song. "Slaves," the longest and final track, is a ballad that displays subtle, diverse influences spanning from Sabbath to Skynyrd then resolves with some Tipton/Downing style tag-team riffing.
Get into this album you'll be rewarded by mountains of confident guitar work, a reckless and free rhythm section, a sense of songwriting that attempts to build on the style, rather than settling for a rocking holding pattern.
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