Out Now
Although I had heard of the legend that is Tim ‘Ripper’ Owens many a time and happened across his music from time to time, I didn’t really know that much about the man aside from the standard ex-Judas Priest reference attached to his name.
That changed a couple of months ago when he toured Australia as part of Metal Gods with Simon Wright.
Big time.
Not only did Owens (understandably) nail the Judas Priest songs in the double set, he also performed outstanding renditions of tracks from Rainbow, Dio and Black Sabbath – and that’s when he became a God in my metal novella.
The man can fucken SING. Like a motherfucker. I don’t care who he used to sing for. He should be recognized for his ability, not who he fronts (fronted).
So it is with excitement I sit down to review his new EP Return To Death Row, a six-song collection that also features Nick Bellmore (Dee Snider/ex-Toxic Holocaust on drums), Charlie Bellmore (Dee Snider/ex-Toxic Holocaust on guitars), and Chris Beaudette (Jasta/Enteirro on bass).
And is produced by a gentleman by the name of Jamey Jasta, he of Hatebreed fame.
So the pedigree is there, the title is awesome, let’s see if the ingredients add up to a winning dessert.
Die While We’re Alive opens proceedings with a massive rumbling of drums quickly joined by a wall of guitars and then…
Owens opens his mouth with a blood-curdling scream that signals intent.
The track wastes no time in announcing Owens solo project’s new offering with screaming guitars in a frenzied solo taking as much importance as the vocals.
And that’s where Return To Death Row has found a winner before even really starting.
Yes, Owens is the voice of a generation, but it also takes other musicians to make a band. It might sound obvious but on far too many occasions the producer focuses on that one point, effectively relegating the rest of the band to bit players.
But then not every album is produced by Jasta.
He lets the music breathe where it needs and bludgeon where it requires – a balancing act harder than many would believe.
Even the song name – Die While We’re Alive signals intent, and I fucken love it. The song itself is a whirlwind of sonic upheaval, reigniting the flame of metal in an instant and sets a pretty high standard for the remaining five numbers.
Embattled has the task of following and the chugg of guitars before a drum fill that oozes malice introduces Owens who barks his message in a contagious light. He soars effortlessly through his high vocal range without over emphasing the point he CAN wail – again, another subtle production technique that too often is neglected.
Owens seems to be enjoying himself here and the band is on fire.
Like molten lava.
Charlie Bellmore has found his niche with Ripper, his guitar singing a tune of its own while around him Nick Bellmore menaces the drums like they returned his ex-wife and Beaudette assaults his bass like it stole his lunch money.
It is a ferocious blending of sounds that unites into one harmonious slab of adrenaline, all the while led by the stunning vocal presence of Owens.
The Night (Take It Back) kicks off with a blistering guitar solo that gains momentum as the track takes off and Owens is at it again. If metal had a current vocal representative I would defy Owens name being far from the top of the pile. He has it all – chops, attitude, hell, he’s even a nice guy!
This song is more guitar-driven than the previous two and showcases this fact beautifully. Even air guitars would find it hard to resist playing air guitar to this as the guitars pierce the darkness and carry The Night through a maelstrom of malicious metal that will be stuck in your head for much longer than you like.
Silent Cage sounds like it could be a love song, but hopefully isn’t!
A nice bass run lays the platform for a more controlled track that still manages to retain an underlying heaviness like sludge in the bottom of your boot.
It is a bottom-end heavy sound that in many other hands would be a ballad of sorts, but in the hands of Ripper is more like a standout hard rock track for most bands.
It is the most accessible song on the album, but I suppose you have to get your sister into metal by any means necessary?
A wicked guitar solo mid-way through brings the macho back into the song, despite the fact it could sound the death knell for your sister’s renewed interest in metal…
Heroes Dare sweeps to life with a rumbling growl of music before Owens takes centre stage, the occasional scream cutting under the music as if to accentuate the dominant vocals.
This song perhaps best showcases the fine line between highlighting an asset and abusing it.
Yes, Owens voice is a major weapon, but even weapons become blunt when used for too long.
Jasta has managed to pinpoint that delicate balance between the two different vocal styles beautifully.
Owens screams are there to highlight the music, not preside over it, and they are used to devastating effect. More guitar solo’s reign supreme and here the true basic, but highly effective, premise of Ripper’s music is revealed.
Great music with even greater vocals.
Sounds simple hey, but think about it. How often can you make it through an EP or album without thinking some point (s) had been over-used, or for that matter under-utilized?
The title track closes out the EP and if you think Owens and co. plan to send you out on a bed of roses think again.
From the moment Owens rumbles “Let’s Go” you feel duty-bound to follow.
Wherever it may lead.
Return To Death Row menaces through nearly five minutes of a complete wrap-up of what Ripper have to offer. Slower breakdowns, bass and guitar solos, wicked drum fills and soaring melodies. It’s like a snapshot of the band’s music in one neat package, while still revealing more about the band in five minutes than you could discover reading five interviews and a bio.
Then it’s over. Far too soon.
In a world where people’s attention spans are getting less and less, for a welcome change six songs just isn’t enough.
And that says all you need to know about Return To Death Row.
