Firstly: I am most certainly one of those people who gets pretty worked up over the prospect of a new Slough Feg album. They are a band that endures inside a fairly unique perfect storm — cut from the same cloth as the forefathers, hitting it to the bleachers with considerable consistency, but fronted by a guy who appears to brawl with the fact that his band is blended into the same genre that includes dudes who pike moldering pig heads to the front of the stage for very, very serious performances. But in the end, it’s precisely that sort of internal scuffle that winds up feeding the magic beans into the formula.
Secondly: Slough Feg is the most dependable band in modern metal. If you thought they were shit in 1996, you will remain true to your course in 2014. (A cue for you to excuse yourself for a bit of quiche and Angelcorpse.) But if you’re lucky enough to resonate on a similar wave, they’re essentially the gift that keeps on giving. We’re two decades-plus into the band’s career, and we now have nine albums that all flash substantial quality — a feat even Sabbath, Priest and Maiden struggled to achieve. Some fans were quick to point to 2010’s The Animal Spirits as a kink in the armor, but “Trick the Vicar,” “Free Market Barbarian,” “Lycanthropic Fantasies,” and the beauty of tying a bow like “Second Coming” down near the tail-end is more than a few jumps ahead of the one-hit wonderful Fear of the Dark, or the fried oddity that is Technical Ecstasy. Still, The Animal Spirits did the job of drawing the most noticeable line in the sand. But during an age when so many people are only interested in speed-dating the new albums they’ve freshly swiped, it’s not such a surprise that the band’s last offering got tossed to the side because of its failure to hook directly out of the gate. Churn and burn, baby, burn. Who has the time (or attention span) to let things breathe nowadays?
“…I used to like technology, and still do in a poetic/literary sense, but the reality of it is becoming quite frightening. This theme then expanded to the role of technology in human evolution, etc. I am a teacher, and I watch students’ mindsets changing on a yearly basis—let’s just say I can’t say they’re becoming noticeably smarter with the advent of all this technology at their fingertips.” – Vocalist/guitarist Mike Scalzi on the development of Digital Resistance.
I’m as much a victim of the digital revolution as that horribly obnoxious kid demanding an iPad in order to behave for a couple hours over at the damn Benihana. I was robbed of my phone at gunpoint a number of years ago and was left completely stumped as to who to call shortly afterward because I’ve apparently lost all capacity to recall a number without a contact list. That’s some scary shit right there. But I suppose acknowledging that fact and becoming more aggressive in an effort to digitally devolve a few pegs is a decent enough first step, and it’s also the pervading point thrown down by the bulk of this album — shield yourself from some of the 000110100011 gunfire before it’s too late.
As far as the music’s concerned, I’ve gotten to the point where I have no damn clue how fans of this band are going to react to new material. The album most certainly takes its clearest prompts from The Animal Spirits — the crux continues a focus toward more of a rip-rocking flavor that trumps outright heavy metalling, so expect the Thin Lizzy collision to go head-to-head with early-80s’ era Riot, as opposed to mid-80s’ era Iron Maiden. Hell, at times this thing sounds like straight-up arena rock, as evidenced by the organ-dominated “Analogue Avengers/Bertrand Russell’s Sex Den” that kicks things off. And although the prevailing stance is still undeniably Slough Feg – bouncy, bright and violently melodic – the increased acoustic guitar presence coupled with a more casual pace to about half the tunes gives the overall mood a decidedly easygoing feel. I suppose that prospect might sound alarming, but it works beautifully, particularly within the contagious perspective of “Curriculum Vitae,” “The Luddite” (amazing), and “Warrior’s Dusk” that close things out. And “Habeus Corpsus” – my God, “Habeus Corpsus” – it’s a repetitive tune, but it clearly indicates that Feg could definitely pen a great murderous spaghetti Western soundtrack. (The Lord Grim Slough Van Cleef?)
That’s not to say there’s zero semblance of Ye Olde Ways within the walls of these 40 minutes. The title track: Barn-scorcher. And drummer Harry “the Earl of” Cantwell goes unhinged on those skins, brother – like Animal on a particularly effective strain of Muppet Meth. “Magic Hooligan” and “Laser Enforcer” hit hard as well, but “Ghastly Appendage” is this round’s prize bull. The way it noisily creeps from the corner like a little Voivod-ian spider, and the brilliant manner in which it slowly builds the momentum at its midpoint to the album’s most majestic bit of melodic majesticism – that’s some eggheaded songcrafting right there, gents. Precisely the reason why my Slough Feg card currently has 9 holes punched into it. And precisely the reason why I’m already looking forward to punch #10. (Free Lox & Luddite Sub!)
Two things that left me bummed: 1) The bass level has been brought down a pinch compared to the last record. I really enjoy the warm, cushiness of the overall production, and you can still plainly hear Adrian’s four-stringing, but I miss that heavy, sorta Brocas Helm-y wallop from The Animal Spirits. Also, I was hoping for another cover tune. Riot’s “Outlaw” on an up-coming 7″, please.
Feel free to dodge the Digital Resistance if you care zero about having a grand old time listening to burnout-rock that’s ripping enough to reach back through the veil of time to high-five every Sweathog that ever lived. But for the love of God, stop ordering your pet’s goddamn anxiety meds online and go out and live. Live, damn you. LIVE.
