Six years ago, when we collectively banged our heads in appreciation at Judas Priest’s excellent Firepower, there was a feeling that perhaps it would be their final album and that, damn, what a great way to go out. It felt like the guys rose to the occasion to deliver a purposefully classic early 80s style Priest meets modern production album (even the album cover evoked memories of Screaming For Vengeance), with still new guy Ritchie Faulkner continuing to steer the band towards their iconic sound and producer Andy Sneap delivering razor sharp sonics that more than made up for Redeemer of Souls glaring audio problems. But in the background of all this was Glenn Tipton’s battle with Parkinson’s, a reportedly very up and down one, KK Downing publicly voicing his shock and displeasure at not being asked to be back in the band while Sneap was tipped to fill in on the tour, a tour that would for the first time not feature either of the band’s original iconic guitarists. Then two years later the pandemic happened, postponing a US tour (that’s finally happening four years later, albeit not in Texas…) and of course putting the band’s activities on ice for a year and a half. Then came the ultra scary incident at the Louder Than Life Festival on September 26th, 2021 when Faulkner experienced a ruptured aorta onstage while playing “Painkiller” to close out Priest’s set and miraculously made it to the hospital in time for life saving surgery. If they had chose to call it a career at that point, I think most fans would understand.
Yet they’ve returned with Invincible Shield, an album aptly named considering the turbulence of the past few years for them (and all of us really), and to not bury the lede, it’s simply their finest album since Painkiller. Yeah, Priest’s nineteenth studio album, with a 72 year old Rob Halford sounding younger than he has in ages is their best work front to finish since 1990. That’s not to diminish Firepower in any way — in fact, I think I could argue that Firepower’s had more singular high points than Invincible Shield, but that overall as an album experience, the new Priest album is just thunderingly awesome in it’s songwriting, execution, and performances. For all the talk of this being the band’s best work since Painkiller (I’m not the only one saying that), I think its biggest strength lies in it not being a replica of that seminal album. Sure, the opener “Panic Attack” does sound like its built with the same approach that informed classics such as “All Guns Blazing” and, er… “Painkiller”, but give a closer listen to that intro sequence with the synthesizer guitar effects. That’s directly or indirectly a nod towards the Turbo era sound, it doesn’t really matter which because the effect was the same, to instantly evoke that era to any knowledgeable Priest fan. Unlike Firepower’s determination to stick to that early 80s Priest palette, Invincible Shield sees the band wrapping their arms unapologetically around (most of) their entire musical history.
Lets talk highlights here, because despite the entire album hitting the one hour mark yet not having a bum track in the bunch, there are some songs here that really had me hitting repeat and banging my head with a little more emphasis. The aforementioned “Panic Attack” is an obvious choice, being one of the band’s most convincing singles and album openers ever, but “Invincible Shield” itself could’ve easily filled in both of those same roles, Faulkner and Tipton (I think) spitting out fiery licks over imposing, mechanized riffs. And I love the hard rock Priest edge infused in “Devil In Disguise”, characterized by that kinda rockin’, strutting rhythmic shuffle that marked so much of early 80s Priest. I love the dip into slower, “A Touch of Evil” meets “Out In the Cold” territory on “Crown of Horns”, one of my personal favorites off the album. Not only is the songwriting emotionally affecting, the solid backbeat reinforced groove lets Halford show off his vocal chops via a simpler expression than his usual metal god attack. There’s something about the way he sings “…something grew inside of me…” during the second verse that I found incredibly raw and real. As a vocal moment, it was reminiscent of his recent duet with Dolly Parton on her recent new album, where he had to simmer down to complement her style. It’s a battle between that tune and “As God As My Witness” for my absolute favorite here, with it sometimes leaning towards the latter for its full barreled assault and glorious lead solo tradeoff midway through. And I have to praise “Trial By Fire” here, a slice of classic Priest, I love the way this is constructed, those cutting riffs slicing away under Rob’s half a beat behind vocals.
So why is this album so good? That answer I think begins with Ritchie Faulkner’s continued involvement as a primary songwriter within the group, continuing on the course plotted way back during the making of Redeemer of Souls. They’ve hinted as much in interviews, but I suspect they underplay just how much Faulkner really got the guys to abandon the progressive leanings they were exploring on Angel of Retribution and Nostradamus and just get back to the nuts and bolts of Priest’s sound. On Redeemer, they worked to get the songwriting headed back in the right direction, on Firepower, they brought in Andy Sneap and Priest’s longtime 80s producer Tom Allom to work together to craft a modern sonic identity for the band that was at once classic yet fresh. Now on Invincible Shield, they’ve realized the fruition of both of those collective efforts into something truly fully realized and bursting with an energy and excitement that a band this late in the game rarely delivers (Magnum did this through their last decade too, props). People have been comparing this record with the new Bruce Dickinson album, but that’s an apples and oranges comparison — they should be using it as a lens through which to regard Maiden’s last two studio albums, which sound stodgy and old in comparison. Priest deserves kudos for putting in the work to improve their art, and Maiden could learn a lesson or three from their generational peers, mostly that fresh blood in the creative process (*cough* producer) and refocusing the songwriting approach to get back to the essentials is something worth considering.
This was a year bursting with awesome new releases, and I know it sounds like an exaggeration, but I’ve never had this much difficultly in putting together my year end lists. Fortunately the songs were a little easier than the albums to sort through, and I’ve been able to narrow down a list that includes not only highlights from spectacular albums, but isolated gems from otherwise unremarkable releases. These were almost always songs that I listened to more often than others, verified by iTunes play counts and my own shaky memory, but others were just instantaneous nominees based on their initial impact. I tortured myself for a few days with the ordering here, reworking things several times before feeling satisfied. Let me know in the comments below if you agreed or disagreed!
1. Visigoth – “Warrior Queen” (from the album The Conqueror’s Oath)
On an album that made a Visigoth fan out of me, “Warrior Queen” was the unquestionable highlight for its combination of brawn and beauty. Built on 80s metal swagger, hard rock strut, thunderous riffs, and Jake Rogers gritty steel-cut voice, this would be a tremendous tune even without the emotive Jethro Tull moment in the middle. It comes in the form of a flute solo, courtesy of Rogers himself, accompanying his most Mathias Blad-ian vocal at the 3:44 mark, the cherry on the proverbial sundae. A song like this by a relatively new band shouldn’t work, it should reek of the worst kind of Manowar-isms, hamminess and self-importance —- but “Warrior Queen” is emblematic of something that’s seeping into the USPM/North American trad/power resurgence of these past few years: A sense of exuberance and fun with the very idea of metal itself, where cliches are comforts and cool ironic detachment is the worst kind of boring.
2. The Night Flight Orchestra – “Turn to Miami” (from the album Sometimes The World Ain’t Enough)
This was the culmination of six years worth of honing in on a perfect recreation of that late 70s/early 80s sound, not only in sound but in songwriting structure, vocal layering and slightly out of touch prog-rock pomposity. That “Turn to Miami” arrived on NFO’s fourth album is almost too perfect, their own path to a song like this mirroring the way we can imagine it would have for any successful band of that halcyon era. Its not the kind of song you throw on the debut or even the sophomore album. This tune arrives after a few gold and platinum albums, during that phase when the band is jet setting across the globe on private planes with champagne, parties on hotel rooftops with supermodels that go til sunrise, cocaine decorating the marble bathroom counter tops, and waking up to find David Coverdale passed out in an empty jacuzzi. NFO conjured up a sound here that’s glitzy, lush, and fervent with a huge assist from talented backing vocalists (the “Airline Annas”), and they also managed to dream up a music video that leaned into the idea of rich, self-important rockers wearing shoulder padded pastel sport coats selling a heady concept with barely disguised sexual overtones.
3. Kobra and the Lotus – “Let Me Love You” (from the album Prevail II)
The chief highlight from this year’s surprisingly strong Prevail II, “Let Me Love You” was the kind of song that Kobra and the Lotus had been needing to write for years now. An unabashedly emotive, some would say sappy song that pulled from the same vein of power rock that Pat Benatar and Heart mined in the 80s for inspiration. That this song has a hook that can rival the best of those artist’s major hits is a triumph for Kobra Paige and guitarist Jasio Kulakowski (who co-wrote this with former guitarist Jake Dreyer and producer Jacob Hansen, who seemingly can’t miss these days in his many many projects). Paige’s voice has that Doro-esque level of power but tempered with Ida Haukland’s range and emotive capability, and she knows how to time her inflections as well as Floor Jansen. While the band almost got there with last year’s single “Light Me Up” (from Prevail I), they’ve stumbled upon their first bonafide could-should-be radio hit… the question is whether that central guitar riff will be too heavy for programmers and leave this song in too commercial for metal / too metal for radio purgatory.
4. Judicator – “Spiritual Treason” (from the album The Last Emperor)
Much has been said about Judicator’s obvious musical influence from Blind Guardian, so maybe it was a bit on the nose to feature the bard himself Mr. Hansi Kursch as a guest vocalist on “Spiritual Treason”. Yet credit the songwriting prowess of guitarist Tony Cordisco and vocalist John Yelland in crafting one of Hansi’s most electric and inspired guest vocalist spots to date. Keying in on Tales/Somewhere Far Beyond era Guardian in structure and spirit, this is a lean, muscular, speedy power metal epic the likes of which we’ve not heard Hansi sing on in ages. Yelland himself turns in a fine performance too, his slightly higher register a nice complement to Hansi’s, but Cordisco might actually get the star turn here —- from his frenetic riffery, his confident clean acoustic work, and that gorgeous multi-part solo. Andre Olbrich would be proud.
5. Therion – “To Shine Forever” (from the album Beloved Antichrist)
This one stuck with me all throughout the year, the penultimate “song” on Therion’s massive, three disc/46 track behemoth opera Beloved Antichrist. Though many may have taken a single pass through this recording and rejected it as fast as a mouse click, I’ve found it to be a treasury of majestic musical moments. And the key term here is musical, set aside metal for a bit and just consider “To Shine Forever” as a beautiful, cinematic piece of music. This is a vivid slice of the kind of thing Therion has been captivating hearts and minds with from Theli onwards; chiming minor key acoustic guitars, sweepingly elegiac strings gracefully ushering the proceedings —- this time accompanying a pair of gorgeous classical voices entwined in a duet instead of Therion’s usual Accept meets Maiden rhythmic guitar attack. Its only flaw is that its too short, a mere 2:07 in run time, but its aching, longing emotional pulse, and its evocative lyrical poetry subsist long after its over.
6. Omnium Gatherum – “The Frontline” (from the album The Burning Cold)
On a largely terrific album, “The Frontline” stood out for its almost retro Gothenburg sound and approach, instantly burning onto my mind with conjured up memories of classic era In Flames. It must’ve been the clean guitar patterns in the verse over Jukka Pelkonen’s slowly muttered vocals that brought me back to In Flames “Satellites and Astronauts” off Clayman, or maybe it was “Jester Script Transfigured” from Whoracle. Whatever it was, long suffering In Flames fans can instantly sniff out something that reminds us of that band’s long distant classic era, simply because few things sounded like it (even at the time). I’m not sure why OG, a Finnish band who has a very defined sound of their own stumbled onto this particular Swedish influence here, but it spawned an understated epic. The appeal of melodeath, regardless of country of origin is in its ability to convey incredible emotion without lyrics, and Markus Vanhala and Joonas Koto’s guitars cry out heart wrenching melancholy. They also merge their own OG sound into the mix at the 3:20 mark, with a keyboard lead into a guitar solo that rockets into the atmosphere. Forget crappy Christmas music, this is all the joy you need right here.
7. Exlibris – “Shoot For the Sun” (from the album Innertia)
Arriving on the most convincing Euro-power metal album of the year, Exlibris’ Innertia, “Shoot For the Sun” is the kind of song that sounds so effortless, its melody so natural, yet so many bands struggle to write convincingly. It was the standout on an album completely void of mediocrity, and I’d find myself circling back to it for a few extra listens every time I played the album all the way through. The stars here are new vocalist Riku Turunen and guest vocalist Ann Charlotte Wikström, who pair together perfectly. Towards the end during that soaring, emotionally charged cliff hanger crescendo, both of their voices weave around each other in a dazzling display. Its rare for duets to find those moments, because its usually a trade off of vocal parts or two voices so uneven in power that one naturally outweighs the other. I’m particularly fond however of Turunen’s intro vocal, where you heard kaleidoscope shades of Timo Kotipelto and Tobias Sammett in tandem, a little detail that brings out the power metal fanboy in me.
8. Judas Priest – “Guardians / Rising From Ruins” (from the album Firepower)
I think this would’ve been higher on this list had the album come out later in the year, because I burned myself out hard on playing this pairing over and over again. I’m including both “Guardians and “Rising From Ruins” as one entry because they are in essence one song, the former a direct intro for the latter and only arguable by the inclusion of a track separation marker on the album for whatever reason. I told the story of when I first heard this song on the MSRcast around that time (when was this? March-ish?) because I was actually driving to my cohost’s place to record a new episode of the podcast when it came on. Its in the middle of the album, the centerpiece ostensibly, and I was already more than impressed with everything I had been hearing, but this intro piece floored me. So jaw-droppingly beautiful is “Guardians”, with its crescendo piano and guitar buildup, so epic and goosebump inducing, that my only reaction was to start laughing like a right fool. I couldn’t stop, it was like my brain had been overcome by joy and was stuck in giddy mode. By the time “Rising From Ruins” came on I was already running through my mind what I was going to say about the record on the podcast —- a litany of superlatives, spittle flying in every direction as I’d rave like a prophet. Thankfully I composed myself to be a little more measured in the end, but these two pieces of music provoked one hell of an emotional reaction in me where few things do.
9. Suidakra – “Ode to Arma” (from the album Cimbric Yarns)
This was a special song on an experimental acoustic album that largely failed to move me otherwise, and a song that’s been in practically daily rotation since the album’s November release. Everything that works on “Ode to Arma”; the mystic tone, the pure emotive strength of Sebastian Jensen’s vocal, specific endearing lyrics, and the layering of unorthodox melodic arrangements are the very things that somehow work against the rest of the songs on the album —- in short, they struck gold here. Of particular note is the melodic shading by guest vocalist Sascha Aßbach, and the fragile piano utterances performed by Arkadius, both working to create a lushness to the soundscape that adds to the otherworldly feel at work. As I mentioned in my review for the album, I’m not too informed about the original fantasy concept underpinning things here. But the central lyric, “The farther you travel / the closer I hold in you my heart”, reminds me quite a bit of the stories of some RPGs I’ve played, even a little of Tolkien in certain Silmarillion steeped stories. Suidakra doesn’t really touch romantic themes all that much, but they handle it skillfully here, with ache and melancholy.
10. Thrawsunblat – “Via Canadensis ” (from the album Great Brunswick Forest)
This was the most anthemic, joyful blast of woodsy, rustic noise on Thrawsunblat’s uniquely excellent acoustic blitz Great Brunswick Forest. That it starts off quirky, with those sharp frenetic attacking plucks of the strings in the acoustic guitar equivalent to a drum count-in is part of its incessant charm. Joel Violette also turns in one of his most captivating vocal hooks to date, built on the strength of the repeating “on we go” vocal fragment that sounds practically mythic when it lands during the nearly a capella bridge midway through. This is also his most positive lyric to date, a cathartic paean to the strength of spirit and moving forward. I particularly love when the electric guitar comes in, the band seemingly so charged by the song’s energy that they couldn’t help but unleash a blast of feedback and muted crunch to further rattle the cage. Drummer Rae Amitay’s aggressive performance here and throughout the album is worthy of praise on its own, and she seems to know just where to punctuate with an extra loud hit or three. This was a re-imagining of what folk metal could sound like, acoustic and woodsy sure, but uptempo and fierce.
