Originally written by Chris Chellis.
A lot of comparisons have been thrown at this group haphazardly, most extremely loosely based in truth, from AC/DC to Motorhead, but what Bible of the Devil can be compared to best is an amalgamation of everything you’d want in heavy metal; the addictive riffs, gruff vocals, good-time vibes, and heavenly carelessness that results from a group of guys with not only a fully-realized vision for their sound but a wickedly fun way to get that vision across.
To be quite honest, after I zipped through the intro track and heard the opening riff to “Guns, Germs & Steel,” I got goosebumps. I can hear the same playfulness with a tune that AC/DC so effortlessly displays, but this is of a different variety, and I know it’s not just the result of modern production. The riffs are there though, and recorded with such spirit and passion that it can’t merely be the product of retro replication. Bible of the Devil is no one trick pony. Some songs lean in a very early speed metal/punk direction (“Winds of the Deth”), while others, like “Flee,” are vitriolic hard-rockers. The diversity in sound invites comparisons, but ultimately proves that these guys defy any sloppy labeling job. When the transition between genres can be made as smooth and subtle as this, there’s no need to dream up a fitting categorization.
After listening to this album in full the first time I couldn’t help but get the feeling that I had stumbled onto something special, and that feeling hasn’t gone away after what is probably something like the tenth round. Spastic, catchy, and fun metal songs like “Murder Red” and “Night Wraith” create such a liberating texture that it’s hard to think of two songs more refreshing in 2005 than those two gems. An epic like the two-part “Sea of Rape” only convinces me more and more as the album concludes that Brutality Majesty Eternity is THE album to own before year’s end. Think I am exaggerating? I told my brother how killer this album was after hearing only its first three songs, and four songs later I removed my iPod’s right earbud just so I could hear my girlfriend’s reaction as I told her I was listening to one of my favorite new groups. That was already two more people than I usually talk to in person about any album.
Hopefully, you will become as infatuated with this album as I am. Mark Hoffmann’s infectious leads should be enough to convince you, but if that doesn’t do the trick, the equally impressive rhythm work of Nate Perry, the inspired bass coming from Darren Amaya, and Greg Spalding’s controlled but creative drumming style should prove a lethal enough combination to seduce your wallet into some winter trimming.