I’ll never forget the first time I saw Iron Maiden. Not only do I remember the show like it was yesterday, but I remember every miniscule detail surrounding it. I recall the conversations I had with my fellow Maiden mutants to each side of me against the barrier, leading up to the anticipated sound of UFO’s “Doctor Doctor” over the PA. One such conversation was with an old schooler regarding our shared love for the much underappreciated Tony Martin era of Black Sabbath. As we fawned over The Eternal Idol (1987) and Headless Cross (1989), most looked on in bewilderment. Tony who? I went on about how awesome it would be if Sabbath reunited with Martin for another album and tour (a position I still hold). There was only one problem, and this old schooler flat out said it: Nobody knew who he was.
In the six years that have passed since that conversation and show, a lot has changed. For one, there’s been a newfound interest in the Martin era of Sabbath; so much so, that apparently a box set containing remastered versions of the five Sabbath albums he sang on is on the horizon. Whether or not that or a new creative union with the other Tony (Iommi, that is) comes to fruition, Martin is fully aware of this resurgence. It’s why his latest album, Thorns, is his first in a decade. The last time we heard his excellent voice on record was with The Cage’s 2012 album, The Third Cage.
To say Thorns makes up for lost time is an understatement. Each song reflects a different channel of stylistic expression. What bonds them together is Martin’s distinct, powerful voice, which is as spot on today as it was 35 years ago. In fact, time and time again, Martin’s voice proves to be the centerpiece of the album, no matter how fantastic the songs and musicianship underneath is. The album kicks off with an epic Dio inspired power metal cut in “As the World Turns”. Contrasting this is the devastating doom of “Black Widow Angel”. While both songs are worlds apart musically, Martin ties them together like only he could.
With the exception of a few singer/songwriter inspired moments (“Cryin’ Wolf”, “This is Your Damnation”), Thorns is a largely metallic affair. It boasts many of those classic Sabbath trademarks we know and love: slow riffs, intense rhythms, and an all around feeling of uneasiness. These can be heard on the groove laden “No Shame at All”, passionate “Nowhere to Fly”, and melancholic beast of a closer, “Thorns”. On top of this, what set the Martin era apart from the other eras of Sabbath was its extremely dark songwriting and arrangement, and an atmosphere that bordered on gothic. This too is present, especially on the synth laden “Book of Shadows” and my choice cut, “Damned by You”. An exercise in symphonic gothic metal with a Sabbathian edge, “Damned by You” is a beautifully dark masterwork that should be heard by fans of all things hard and heavy.
Aside from those aforementioned singer/songwriter moments and the modern metal thud of “Passion Killer” (not my cup of tea, but certainly someone else’s), Thorns is a largely solid release from one of metal’s finest hidden treasures. Although I suspect he won’t be “hidden” much longer. Sabbath fans rejoice. The “Headless Cross” has risen again. God help us all.
7 out of 10
Label: Battlegod Productions
Genre: Heavy Metal
For fans of: Black Sabbath, Dio, Rainbow