Bible of the Devil -

Rating: 9.0

Country: USA

Release Date: 2006

Track list:
1. Ecclesia Novorum Innocentium
2. Sepulchre
3. Orphans Of Doom
4. Millienalism
5. Legions Of The Oriflamme
6. The Elusive Miracle
7. Heinous Corpus
8. Judas Ships
9. Slaves

Band Website: Bible of the Devil

Bible of the Devil - The Diabolic Possession

Mark Hoffmann - Vocals, Guitars
Nate Perry - Guitars, Vocals
Darren Amaya - Bass
Greg Spalding - Drums

It is a bit difficult to fathom that this is the same band I reviewed two years ago, when the good Velcro Lewis (of the brilliant Velcro Lewis & The 100 Proof Band), cognizant of my penchant for old Mountain , Grand Funk Railroad and Thin Lizzy, pushed their wares on me. In the two year interim between 2003's 'Nantucket Sleighride'/'Jailbreak/Montrose'-peppered 'Tight Empire' and last year's sublime 'Brutality*Majesty*Eternity' (meatheaded monicker, but SMOKING metal!), BOTD metamorphosed into a chain-mailed, twin-axe-flailing battalion, subduing the scintillating muscle rawk of yore for an obscenely tight, impassioned take on twin-V Euro-metal. While the stylistic transformation aroused considerable cynicism from yours truly, particularly since the recent ascent of Twisted Tower Dire and Slough Feg have incited a fullscale renaissance in post- Maiden bravura, repeated spins of 'B*M*E' affirm that the renovated BOTD is far from a pale facsimile- the record positively BRISTLES with energy and white-knuckled fervor, and remains one of the most interesting takes on a sound that has been worn threadbare by countless less accomplished troupes. Compared to the consummate sheen and lofty 'Powerslave' ambition of Twisted Tower Dire and the slinky, Lizzy/Heavy Load -infused Celtic-isms of Slough Feg, Bible Of The Devil present a proposition that is considerably rougher around the edges, peddling an ale-imbibing brand of heavy metal that is considerably more 'Killers' than 'Seventh Son', raucous and honest in a way that aligns them somewhat with bands like Sweden's Wolf and the now defunct Goat Horn.

More of the same here, then, as the band once again indulge their yen for elaborate, epic structures without EVER flirting with pretension- the cocksure swagger that defined the band's first two recordings remains a focal foundation in the BOTD sound, and the blue-collar, everyman ethic of the band distances them from innumerable power metal bands whose forays into Maiden territory have been marred by pomp. Effectively, BOTD siphon 'Piece Of Mind' and 'Powerslave' through a Di'Anno lens, injecting a fair amount of Raven, 'On Through The Night' Def Leppard, Sweet Savage, 'Ride The Lightning' Metallica, Philthy/Eddie Motörhead, '77-79 Scorpions, vintage Lizzy, 'Argus'/'Pilgrimage' Wishbone Ash and Schenker UFO attitude into the mix. Yes, this is a band that celebrates an era when ‘'heavy metal'' was beginning to take its first steps as the bastard offspring of rock n'roll, a band that doesn't forget to swing, swerve and groove, and firmly adheres to the blood-sweat-tears ethos of heavy music. Somehow, as involved and epic as some of these compositions are, they are always relatable and assertively down-to-earth, the band echoing the same bar-room intimacy and working-class spunk that made 'Killers' and 'Overkill' instant classics.

It helps that the songwriting has reached a plateau of consistency that the band have not exhibited to date- the brief, spirited opener “Ecclesia Novorum Innocentium” is a singeing, seething speed metal burst that suggests France's Vulcain or H-Bomb, “Sepulchre” is surging Lizzy -on-fucking-11, harnessing throbbing percussion, an infectious, Lynott-esque sense of melody and supple, confident bass work to great effect, “Orphans Of Doom” marries a serpentine Celtic lead line with rhythmic, churning guitars, clever songwriting and convincing dual vocals to yield a genuine winner. “Millenialism” pushes the Maiden -isms all the way to the fore, cascading, intertwining guitar lines weaving exquisite tapestries around a rock-solid rhythm section (perhaps a bit too workmanlike and precise for me at points, but oh well) and thrusting the listener through a host of magnificently crafted sections. “Legions Of The Oriflamme” assumes a more aggressive, assertive guise than most of the other fare here, Mark Hoffman very much coming off like a higher-register Mr Kilmister over flesh-gnawing, scimitar-sharp, indefatigable guitars. All of this, of course, merely serves as preludes to the undisputed centerpiece of the work, the STAGGERING “The Elusive Miracle”, proof positive that last year's two-movement “Sea Of Hope” saga was no fluke. The gusto and aplomb here is nothing short of astonishing, the chemistry and tightness of the band absolutely up to task with the scope and dynamism of the textured songwriting (LOVE the dual vocal harmony on the bridge, guys, very Cream/Mountain -ish).

Frank, forceful, unashamedly METAL, these are all adjectives that apply to this remarkable band. Referential yet wholly individual, this is a band that exemplifies all the grit and gravel of great rock n'roll. Highest recommendations.

September 30th, 2006