Danzig - Deth Red Sabaoth

Release Date: June 22, 2010
Label: The End Records

TRACK LISTING

1.  Hammer of the Gods
2.  The Revengeful
3.  Rebel Spirits
4.  Black Candy
5.  On a Wicked Night
6.  Deth Red Moon
7.  Ju Ju Bone
8.  Night Star Hel
9.  Pyre of Souls: Infanticle
10.  Pyre of Souls: Seasons of Pain
11.  Left Hand Rise Above

Total playing time:  51:59

June 24, 2010

Reviewer: Chris

(Entering the room filled with metal head strangers)

Hi all. My name is Chris I gave up on Glen Danzig about twelve years ago.

(Hello Chris!)

I admit it; the foray into industrial, followed by what I deem pretty pedestrian, un-Danzig releases soured me on the “Evil Elvis”. Now, I’m a Misfits fan from back in 1984, I sport proudly no less than four Misfits tattoos on my person and nearly tried out for the Misfits at Jerry Only’s request back in ’97 after telling him I “sound too much like Danzig” - I have a lot of time invested in the Danzig mystique. I loved the guy for many years, but I felt let down after 4p. Naturally I was very apprehensive about the latest offering Dethred Sabaoth. Going in I found myself shutting off the player twice, actually afraid of hearing something less than Danzig was capable of and adding another notch to my disappointment board.

Well, I can leave the support group with a smile on this aging face.

Okay, first off the bat Danzig’s familiar wail and howling vocal are back and stronger than ever for a 55-year-old guy (as of this writing he turns 55 today), and while that classic lineup of Eerie Von, John Christ and Chuck Biscuits is long gone, the severely heavy, bordering on sensual evil tone is evident throughout. Some very classic elements are here, from 1990’s Lucifuge (“Black Candy”) to 1994’s 4p (“Hammer of the Gods”), and it seems that Glen has, like the old saying goes, gotten better with age. “Black Candy” is so incredibly slow, brooding and sexually charged ala “She Rides” from the 1988 debut. It goes to prove that Glen hasn’t lost the edge. When the single “On a Wicked Night” kicks in with its acoustic intro you can’t help but hear “Devil’s Plaything” ringing in your head. When I first heard it I was very ho-hum about it, but upon a third listen it’s growing on me nicely, proving that one should never judge harshly a release upon first hearing it.

While other releases after 4p have pretty much been so-so in this writer’s opinion, I couldn’t be happier to see the metal-man-in-black back to the front where he surely belongs as a living legend. I’ve had the opportunity to see Danzig live many times from 1985 up to about 2000 and one thing I can say is the man doesn’t put out crap efforts, even if the music he’s offered in recent years doesn’t always meet with the fan base’s expectations. I honestly am getting more excited about this CD as I’m writing this while it fills the room in the background. “Death Red Moon” is a classic How the Gods Kill design, while “Ju Ju Bone” relies heavily on the sensuality aspect of Danzig’s repertoire, dripping out of the speakers like a heavy syrup atop the receiver. And for you air drummers out there “Night Star Hel” will have you riding that imaginary high hat incessantly as you hear traces of “Am I Demon?” at tracks’ end. I truly am experiencing the Danzig fever again after so many years away. One of my favorites is the hauntingly beautiful “Pyre of Souls: Infanticle”, which sports a quite beautiful Danzig vocal over a nice acoustic melody.

Now, let’s get to the not-so-great part about this release. The production on this is pretty thin, almost criminal in its undervalue. It sounds as if it were recorded on a 24-track somewhere back circa 1985, which, for nostalgia’s sake, might not be a negative for your liking (remember the Samhain mixes?), but I’d be remiss if I didn’t mention it. I don’t think it would hinder your enjoyment of the music so I implore you to give it a listen despite my reserve concerning the overall mix. It truly is a great CD.

Aside from what might have been in terms of the mixing, Dethred Sabaoth will hopefully set the train back on the tracks for Glen Danzig because it’s certainly a heavy, foreboding lesson in somewhat somber, yet unabashedly sexy metal music.

Who’da thunk it?     

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