| Musical Style: Hard Rock | Produced By: Dale & Troy Thompson |
| Record Label: Retroactive | Country Of Origin: USA, New Zealand & Brazil |
| Year Released: 2018 | Artist Website: Bride |
| Tracks: 12 | Rating: 90% |
| Running Time: 47:36 |
As reputed, Snake Eyes, the summer of 2018 comeback album of Christian metal and hard rock veterans Bride, represents a return to the blues based hard rock style of its highly regarded 1992 release Snakes In The Playground, but is it also a return to the groups prime Snakes… form? Hence, the question this review attempts to answer. Tracing its inception to the early eighties when founded by American guitarist Troy Thompson and brother and New Zealand based vocalist Dale Thompson, Bride announced in 2013 what was to be its fourteenth and final studio album in Incorruptible. That, however, proved a misnomer in that the international four-piece, also including the Brazilian rhythm section of bassist Nenel Lucena and drummer Alexandre Aposan, returned out of retirement to create a work in Snake Eyes that confirms it has not lost a step musically and still possesses plenty of gas in the proverbial creative tank.
That said, where does Snake Eyes rank within the Bride back-catalog? To answer one must first evaluate the Bride post Snakes… career, or more specifically what in my opinion are the five best albums (chronologically) it has released post Snakes…
Scarecrow Messiah (1994)
Being that it follows on the immediate heels of Snakes…, Scarecrow Messiah potentially has the most Snakes… like vibe, albeit with a bit more polish when factoring the Elefante production.
Drop (1995)
Criminally overlooked and underrated, Drop more than holds its own musically in comparison to any Bride post Snakes… release but also might have alienated long-term fans with its acoustic rock direction.
The Jesus Experience (1997)
Likewise, with The Jesus Experience but for combining the Bride penchant for hard rock with strong leanings toward the modern and grunge-like.
This Is It (2003)
Bride followed through on its promises on This Is It by revisiting its traditional blues based hard rock ways.
Skin For Skin (2006).
Skin For Skin is not so much a throwback to Snakes… as it is to the straight on metal of earlier releases Live To Die (1988) and Silence Is Madness (1989).
Snake Eyes leaves little doubt as to how it revisits Snakes… like musically territory to a very high degree but that would only be telling part of the story in that the group’s musical background also cannot help but come into play, although to not quite the same extent. You will find on Snake Eyes, for instance, the raw intensity to This Is It as well as a consistency and refinement speaking of Scarecrow Messiah, but do not discount any influences of Drop, The Jesus Experience and Skin For Skin that while understated in comparison make their presence felt nonetheless.
Those still on the fence as to whether Bride is returning to its Snakes… roots need look no further than opening vocal cuts “Fake News” and “Famous When I’m Dead”. Former begins to snarling Bride style rhythm guitars prior to launching at once into its larger than life hook driven refrain: ‘Fake news is propaganda. Burn, burn, you’re gonna burn’. Rumbling bass, courtesy of Brazil’s Nenel Lucena, impels the slicing scene until a breakdown at the mid-point to feature Dale’s spoken word delivery. Troy provides the bluesy soloing to close out the final seconds.
Also classic Bride, “Famous When I’m Dead” hits even harder at the faster tempo in taking the passion and emotion to further heights. An almost biting if not sarcastic demeanor presents itself, as found in the refrain to repeat the songs title in brusque fashion, but also without turning repetitious in that similar elevated hooks assert themselves. The cowbell in the backdrop attributes to timekeeper Alexandre Aposan (also Brazil).
Characteristic to the two are Dale’s trademark raw and gritty blues soaked vocal abilities, which (as always) mesh well with the groups straight on hard rock leanings. It is refreshing to know he has not lost anything over the years.
“John The Baptist”, of which the group recorded a lyric video, represents albums lone potential misstep, which is saying a lot in that it is a very fine song- or more specifically speaks better for the brilliance of the material surrounding it. Musically, it takes a more melodic heading compared to its predecessors, with a tempered guitar opening prior to joining equal parts lighters, to feature guitars of a reserved nature, and heavier, to find slamming guitars commanding the mix.
Bride returns to its heaviest best on “Think I’ll Build The Bomb”, a stout mid-paced track that mauls from the get go to irascible verse sections (of a bass heavy form) and churlish refrain that has impassioned written all over it (curtly done but engaging all the same). Instrumental moments contrast with a gentler feel as melodic harmonies hold sway, as does the passage to ensue to uphold an almost pop basis.
“The Real Jesus” is also top of the line. With clashing symbols and bass solo to start, the song grinds ahead in scratchy fashion to a slamming rhythm section - producing an overpowering effect similar to that of “Kiss the Train” (off Kinetic Faith from 1991) - while upholding a riveting energy that suggests of a youthful presence. Troy once more turns the ending moments into a bluesy guitar shred fest.
My Snake Eyes favorite might be its most melodic, “Lost In A Song”. Featuring one of the most immediately recognizable melodies in a Bride number since “Everybody Knows My Name” (also Kinetic Faith), “Lost In A Song” touches upon the type of commercial traits that would lend to radio play, that is if given the chance. It otherwise comes across mirthful and uplifted but also does not forsake heaviness, as found in how the instrumental passage morphs into some thrash like riffs at the end.
The second song of which Bride recorded a video, “Laughter Of It All” points towards the bottom heavy, dramatic and just plain menacing. With a curt drum solo opening, the song plows ahead to metal edged guitars that slam in and out of the mix (and hint of classic Snakes… track “Would You Die For Me” in the process) as Dale sings at his snarling and raspy best and helps place it among the albums most formidable.
“The Painter” separates as a showstopper also ranking with the Snake Eyes finest. It is another melodic based cut along the lines of “Lost In A Song” but more consistently heavy, with victorious moments upheld by riffs of an anthem-like faculty and others that temper to acoustic guitar that hearkens back to Drop. The smooth closing instrumental moments cannot help but align with the bluesy signatures at hand.
An expansive and driving hard rock meets metal cut, “Call Out His Name” returns Snake Eyes to its full on heavier ways to a dominant rhythm section and guitar riffs that reveal an almost stoner-doom-groove impression. No, this one might not be catchy as some here but its overriding power and persuasive form serve to put it over the top, or at the very least avoid the pitfall of repetition.
“Other Side Of Suicide” preserves the assertive focus but in a more up-tempo air, as screaming guitar feedback at the start gives way to brimming guitar walls, impelling the hard charging verse sections, and overriding sense of groove, defining one of the albums catchier refrains. Interestingly, the distorted vocals at a minute and a half in sound as if taken from The Jesus Experience, although there is no need for concern in that any modern flavorings end up quenched by the bristling guitar leads to ensue.
I appreciate the instrumental emphasis on closer “There’s Always Tomorrow”, including the wonderful harmony leads propelling the first minute and every bit elegantly done interlude at the mid-point. In between, it proves another tireless track in the mode of “Call”, a very good thing I might add, but with occasional outbursts of metal edged riffs that point to Skin For Skin. Also similar to “Call”, impression is substantial but not overbearing at the same time.
While it might not be fair to offer comparison to the big budget refinement producer Plinky brought to Snakes…, the Snake Eyes production more than holds its hone in making guitars the centerpiece to the mix while not overlooking key components in bass and drums. Likewise, packaging gets the job done with eye catching cover art in line with the album title theme, vintage band photos and easy to read lyrics and liner notes.
Lyrics speak openly of the group’s faith, a Bride staple. “The Real Jesus” makes a forthright statement in this regard:
Not a fake, not an imitation, not a brand, the real Jesus
I am in the eye of the storm, that’s when we wage war
And fight against the evils that be
Our battle cry is love, not against flesh and blood
Have no fear is our creed
I’ve got something to say, better prepare for judgment day
- As does “Lost Within A Song”:
My refuge, my counsel, my teacher, my friend
My fortress, my redemption, my shield to the end
Create in me a clean heart, send me, anoint my path
Build a Kingdom within me that will glorify your name
The good news is up me, the truth I will proclaim
Don’t let the deceiver deceive me, nor let the devils get in the way, Mercy and truth in Jesus name
“Fake News” actually points towards the Good News:
If you stay there is devastation
So enter with me into this divine dispensation
Because I will be leading the jubilation
I am living in the age of transformation
Come with me without trepidation
Salvation for every nation
“Call Out His Name” speaks of doing exactly that:
But I know things of tomorrow
That your religion won’t buy you today
The prison is empty so open the gates
Can you see my God’s face?
Can you see the lightning, call out His name
Hear the roar of thunder, call out His name
“Other Side Of Suicide” makes the deception of suicide its focus:
There is angel with blackened wings
Deception is the song that he sings
The author of confusion, the father of lies
Evil is hidden right behind his eyes
Jesus saves, the flesh decays, He came to save your soul
Don’t deny what’s before your eyes when you’ve been down so low
On Snake Eyes, Bride leaves little doubt as to how it not so much has captured a Snakes… like blues driven hard rock sound but more accurately re-captures its prime Snakes… like form. It begins with songs in that while some stand out better than others do, each brings that unique or memorable trait to allow it to hold up on its own and separate itself from the rest. Also similar to Snakes… no chaff or filler. It also encompasses musicianship in that brothers Thompson remain at the top of their game, with Troy maintaining his blues based hard rock licks and chops penchant and Dale continuing to shine with his ever-charismatic vocal style. Whereas it is difficult to come up with anything constructive, I miss some of the acoustic to piano ballad moments to Snakes… in the form of “I Miss The Rain” and “Goodbye”, not to mention a customary guest appearance by Greg Martin (Kentucky Headhunters), whom graced Snakes… and This Is It. All in all, if a Bride fan, regardless of era or genre, or have been clamoring for a return to vintage Snakes… style and form sound, then make Snake Eyes an immediate purchase.
Review by Andrew Rockwell
Track Listing: “Intro” (:55), “Fake News” (3:56), “Famous When I’m Dead” (4:02), “John The Baptist” (4:08), “Think I’ll Build The Bomb” (4:43), “The Real Jesus” (4:42), “Lost In A Song” (3:22), “Laughter Of It All” (3:54), “The Painter” (4:08), “Call Out His Name ” (4:32), “The Other Side Of Suicide” (4:48), “There’s Always Tomorrow” (4:27)
Musicians
Dale Thompson - Lead Vocals
Troy Thompson - Guitars
Nenel Lucena - Bass
Alexandre Aposan - Drums
