On their 14th full-length release, Vicious Rumors soldier on like a killer on the loose. These children of the damned keep delivering the goods.
US power metal can best be described as a coalescence of Judas Priest’s speed, with Thin Lizzy’s melodic flair, and the secret ingredient, which is Accept’s dash. You can hear a song like “Breaker” for reference. There are obviously some Iron Maiden influences lingering, especially from the two more punkish (sorry Steve Harris, but they are) first two releases. Since their inception, Vicious Rumors have been one of the most classic examples and purveyors of this aggressively melodic style of heavy metal.
Along with bands like Crimson Glory, Queensryche, and Iced Earth, Vicious Rumors took speed and intensity to a whole different level. Unlike their European counterparts, such as Helloween, Blind Guardian, or Scanner, whose albums feature sci-fi and fantasy-themed songs, this band seems more grounded in reality.Such as Crimson Glory sadly lost their charismatic singer, Midnight, so did Vicious Rumors lose their fantastic multi-octave wonder, Carl Albert. And both bands never really recovered from such tragic losses, to be honest. Still, they soldiered on. When you’re celebrating 45 years of existence, you have to be tough and extremely perseverant. The band never stopped recording and touring around the world, valiantly going against trends and fads. Unrelenting in their quest to keep alive a style they’ve helped create.
Only Geoff Thorpe (guitar) and Larry Howe (drums/percussion) remain of the classic line-up. The five-piece line-up is rounded out by Robin Utbolt on bass guitar (since 2020), and newcomers Denver Cooper on guitar and Chalice on lead vocals.
The music, as expected, strikes the perfect balance between aggression, speed, and melody. Along the 11 tracks featured on this album, the music is hectic and aggressive, without neglecting a good vocal hook and a pleasing sing-along chorus. Chalice fulfils his role admirably, proving as adept on the lower register as on the higher notes, without overlooking the ever-important falsetto screams. If the singer isn’t able to keep up with the music, he risks getting suppressed by the vigorous instrumental barrage. Why do you think Trevor Horn needed to scream his head off to be heard in Yes? All of these intense rhythms warrant a singer who is capable of navigating the labyrinthine riffs and intricate bass lines. Fortunately, Chalice is up to the task.
Thorpe is as elegant as ever, and he is impeccably followed by Denver Cooper. The foundation of any power metal album worth its salt is the guitar solos. Thorpe and Denver don’t hamper the proceedings, playing solos that complement and work perfectly within the song’s context. They’re not flashy or flamboyant, but structured, concise, and precise like a shark attack.
This album may not be on the same league as Soldiers of the Night or Digital Dictator, but it really doesn’t have to be. As long as the quality is present, people’ll be here to listen.
The Devil’s Asylum is out on August 29th.
