by Martin Popoff
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Martin Popoff is the author of The Collector's Guide To Heavy Metal (previously known as Riff Kills Man!), now a 540 page, 600,000 word compendium comprising 3,700 heavy metal record reviews. Also included are rock lists, a glossary of terms, a concise listing of almost 500 9's and 10's, plus a roll-call of non-metal faves. New to this edition is an exclusive 19-track sampler CD from premiere metal label Century Media. The book is now in its second pressing. For more information, visit the book website or contact martinp@hardradio.com |
Fresh Metal
Ratt - Ratt
(Sony)
Ratt never said as much, but you kind of knew they were being polite tolerating this hair thing,
given their complex hooks, their hot riffs that fused the blues of the past and the techno-fire of
metal's front edge, and their smart arrangements that gave their biggest hits lasting power. Ratt
'99 hasn't lost this regal stance, but they have somehow gotten uptight and claustrophobic,
relying on co-writes with outsiders and a slick, thick production job by Richie Zito to befit
their new-again major label status. I mean, there's something relaxed and raw about Collage that
would have been nice here. Still, the band has done a worthy job of making hard rootsy party rock
that doesn't sound embarrassing either in terms of the writing, nor the riffs, DeMartini turning
in a classic set of tones that are timeless and breathless. Weird, but there's almost too much to
digest here. Maybe I'm just too used to having my Ratt served on vinyl, but I'm finding this thing
impermeable, and I'm not sure if my aging constitution wants to put in the effort. Don't let that
stop you though. The record's just fine.
Rating 7.5
Megadeth - Risk
(EMI)
I was fixin' to find this OK after the first couple of tracks, Dan Huff somehow updating the
production of the band and even adding a little buzzsaw bite to the guitars. Insomnia sounds like
heavy Tea Party, Prince Of Darkness, acceptable, hummable Load o' Metallica. But then things hit
the skids, Huff unable to resist all these annoying little bells and whistles, violins, electro
drum effects, samples. Then there's Crush 'Em, a song that selectively
forgets that wrestling is fake. Plus it's lame, unheavy, and laughing-out-loud nerdy with those
big 'Crush 'Em' crowd chants, which one can't help think come from twelve-year-old boys in
oversize wrestling merchandise. The tie-ins with the sport indeed have gone too far when you
step-dance up to ringside and actually write a song for it. The rest of the record musically goes
to this moody, spooky, introspective place where the dynamic is no guitars for the verse, and then
'80s Alice Cooper chords for the chorus. Add it up and it surely is a risk: this is the band's
mellowest record, and most produced and arranged, and most lifeless, all of that annoying in its
own right, even moreso when 3/4 of the record is within the slow range of mid-speed, the rest just
slightly snappier mid-speed. The record ends on a high note with its best riff (Time: The End),
which sent me back looking for the rest of the inspirational/inspired riffs, of which I found but
three. I guess what's left are supposed to be (in the parlance of the record industry) 'good
songs'. Think again.
Rating 4.5
Orange 9MM - Pretend I'm Human
(NG/BMG)
Orange 9MM used to be a really cool cross between Helmet, Fishbone and Lenny Kravitz, sort of
Candiria-lite, but all that is gone on this much-vaunted latest, a record that is perhaps deeper
in terms of persona, certainly braver, but highly immersed in rap and electronica. The production
is bright and accessible, but man, I wish there were more up-tempo, guitar-fueled tracks to
compete with the mouthful of vocals overwhelming each uh, performance piece. I dunno, it's just
too gunked up with trendy stuff, artsy as all hell, but like the curse of Fishbone, confused,
tugged and Godsmacked in too many directions. Mildly positive grade due to the band's Skunk
Anansie cool, even it has little use in my world.
Rating 6
