Reviewed - 10/05/04
The Neon God part II: The Demise
[Sanctuary Records]
The story of the discarded and drugged-out messiah, Jesse Slain, comes to a close on “The Neon God part II: The Demise.”
“The Neon God part I: The Rise” featured an inspired W.A.S.P, full of creative energy after the refreshing and decent “Unholy Terror” and “Dying for the World” releases. Even though Blackie was treading again on concept-album territory, “The Rise” was a solid release. So where does that leave, “The Neon God part II: The Demise”? How about a notch higher in terms of satisfaction and quality,
“The Demise” does not feature interludes like “The Rise.” Instead the album picks up with “Never Say Die” steams on to “Clockwork Mary,” takes a break, and then motors on to the climatic, 14 minute album closer, “The Last Redemption.” Blackie definitely knew how to put together a moving track list with “The Demise.”
The line-up has changed a bit on “The Demise” also. Long-time drummer Stet Howland replaces Frankie Banalli on all tracks. What is nice is that Howland’s performance on “The Demise” mimic’s Banalli’s on “The Rise.”
All of the melodies found on “The Rise” are featured here and are either expanded upon or summed up in “The Last Redemption.” Yet, “The Demise” is a heavier album and Blackie lets out squeals that can make Dani Filth sound like an amateur. Duda and Blackie’s bass is thick and heavy. Tracks like “Never Say Die,” “Come Back to Black,” and “Destinies to Come (Neon Dion)” seem to revolve around the thunderous bass rather than the guitars. Speaking of which, Darrel Robert’s lead performance proves he is at home in W.A.S.P. and a worthy replacement to Holmes. The overall guitar tone on “The Demise” seems lower than “The Rise” and the riffs are more polished and abrupt at times on tracks like “Resurrector” and “Tear Down the Walls.”
“The Neon God” series was a massive endeavor. The title and themes seemed to ape his classic opus, “The Crimson Idol.” But “The Demise” features strong songwriting that stays consistent thematically from the first disc to the second. Even the story of Slain’s rise, tumble, and exile are precise and well-crafted.
In the end, if you enjoyed “The Rise” you’ll dig “The Demise.” Actually, I would bet that “The Demise” will be the more spun disc of the two-disc set. Blackie did fail to answer the question posed on the opening track of “The Rise,” but with the quality of “The Demise,” I doubt many will notice.
So where does Blackie go from here? His line up is strong and his songwriting is honed.... so let’s not hope for a recap of “Helldorado.”
[Sanctuary Records]
The story of the discarded and drugged-out messiah, Jesse Slain, comes to a close on “The Neon God part II: The Demise.”
“The Neon God part I: The Rise” featured an inspired W.A.S.P, full of creative energy after the refreshing and decent “Unholy Terror” and “Dying for the World” releases. Even though Blackie was treading again on concept-album territory, “The Rise” was a solid release. So where does that leave, “The Neon God part II: The Demise”? How about a notch higher in terms of satisfaction and quality,
“The Demise” does not feature interludes like “The Rise.” Instead the album picks up with “Never Say Die” steams on to “Clockwork Mary,” takes a break, and then motors on to the climatic, 14 minute album closer, “The Last Redemption.” Blackie definitely knew how to put together a moving track list with “The Demise.”
The line-up has changed a bit on “The Demise” also. Long-time drummer Stet Howland replaces Frankie Banalli on all tracks. What is nice is that Howland’s performance on “The Demise” mimic’s Banalli’s on “The Rise.”
All of the melodies found on “The Rise” are featured here and are either expanded upon or summed up in “The Last Redemption.” Yet, “The Demise” is a heavier album and Blackie lets out squeals that can make Dani Filth sound like an amateur. Duda and Blackie’s bass is thick and heavy. Tracks like “Never Say Die,” “Come Back to Black,” and “Destinies to Come (Neon Dion)” seem to revolve around the thunderous bass rather than the guitars. Speaking of which, Darrel Robert’s lead performance proves he is at home in W.A.S.P. and a worthy replacement to Holmes. The overall guitar tone on “The Demise” seems lower than “The Rise” and the riffs are more polished and abrupt at times on tracks like “Resurrector” and “Tear Down the Walls.”
“The Neon God” series was a massive endeavor. The title and themes seemed to ape his classic opus, “The Crimson Idol.” But “The Demise” features strong songwriting that stays consistent thematically from the first disc to the second. Even the story of Slain’s rise, tumble, and exile are precise and well-crafted.
In the end, if you enjoyed “The Rise” you’ll dig “The Demise.” Actually, I would bet that “The Demise” will be the more spun disc of the two-disc set. Blackie did fail to answer the question posed on the opening track of “The Rise,” but with the quality of “The Demise,” I doubt many will notice.
So where does Blackie go from here? His line up is strong and his songwriting is honed.... so let’s not hope for a recap of “Helldorado.”
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Tracklist:
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| Rating: 8/10 | ||||||||||||||||||
| Release Date: 2004 | ||||||||||||||||||
| Length: 46:44 | ||||||||||||||||||
| Review By: D. Rottenbucher | ||||||||||||||||||
| Total Reviews: (1) | ||||||||||||||||||
| Bands Website: Go Here | ||||||||||||||||||
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