Darker than Black

Judas Priest's Painkiller in general has a lot to answer for; as an update to the traditional formula that successfully upped the aggression and heaviness of the traditional formula without losing the classic heavy metal sound, it was inevitable that its innovations would be picked up wholesale and replicated with approximately 1% of the success. Bands like Primal Fear have made their career being Painkiller parts 2 - 9061, and as one would expect the result is rather often pretty mediocre and uninteresting. The vital force of Painkiller lies not in a formula but in the ferocity and blazing brilliance of its execution, and that's not something you can simply pull off the shelf.

Now I mention Painkiller here because, like many before and many since, it's the clear reference point for Cage's 2003 release "Darker than Black"; the formula is all present and correct, with the high-energy drumming, heavy guitar tone, driving riffs, electric pace, aggressively-shrieking-but-still-melodic vocals and classic heavy metal verse-chorus songwriting. Like pretty much everyone, Cage cannot expect to outdo Priest at the game they invented; to their credit, and unlike many of their fellows, they nonetheless succeed here in executing an excellent heavy metal album.

Why is this? There are two key elements that I think make the difference. The first is the vocalist Sean Peck. To put it straightforwardly, this man is an incredible singer (or was at this time; no idea about nowadays). It's pretty clear to me he's actually technically superior to Halford, particularly in the mid and upper belt range as you approach and cross into the 5th octave around a tenor high C; his voice maintains its powerful resonance for longer, and the rich tone, intense aggression, lack of strain, and clear diction remains highly impressive throughout (with the caveat that of course Halford’s unique sound, particularly as he shrieks up towards that absurd Soprano-range 6th octave, cannot really be imitated). The performance here is also markedly dramatic and varied. Peck is not just singing some random badass-sounding stuff in a monotonous scream, the man is actually trying to spin a tale and deliver the lines with their emotional meaning intact in the phrasing, pitch and dynamics.

The second relates to the first, and it's the songwriting, particularly in how the rest of the band functions as a supporting structure for Peck's voice and delivery. Whilst there are all your usual riffs and solos, this album does not in fact do the Painkiller thing of throwing absolutely everything at you simultaneously in a pyrotechnic barrage; there's significantly more control and finesse in evidence here. The songs hang together as a structure, riffs retaining distinct song-level thematic elements as you move between the segments, each section having some kind of logical relation to the one preceding, and Peck's vocal lines are the clear pivot around which the band moves, bringing a feeling of solidity and of purpose. Whether this was actually intentional or a happy accident I'm not sure, but it combines excellently with the almost bardic feel of the lyrics and Peck's barnstorming performance, supporting and working around it rather than fighting with it.

A quick note on the production and sound quality: it's excellent. There seemed to be a fair few metal bands around this time who had really great-sounding, polished and clean recordings.

There are, however, a couple of downsides to a highly enjoyable album. Firstly, whilst the restrained and coherent composition is welcome, Cage can have a tendency to really lack that punch or killer hook that would raise a song from good to amazing. This particularly comes out in fairly average choruses. Now it's true that going full flower-metal here wouldn't fit at all with the atmosphere, but nevertheless a few more real hooks would help the songs settle in a bit more. Often the key hook is actually delivered in the verse - see for example "The Philadelphia Experiment", whose verse is exceptional and whose chorus really seems like the supporting piece; it's basically an inversion of the normal structure.

A further minor thing, which will be subject to taste, is the lyrical subject matter, which... well, it's not my cup of tea. The lyrics themselves are competently written, superbly delivered, fit together as songs, and tell a functioning story - but thematically we have here largely a bunch of conspiracy theory / supernatural woo / Christian stuff, which I find pretty eye-rolling. On a positive note it certainly beats yet another band singing about dragons, or Painkiller's basically random lyrics.

In summary: "Darker than Black" is a rock-solid album that I'd recommend if you like this genre of metal, with excellent production, a fantastic singer and well structured, purposeful songs that support the whole.

Cage is a band that seems to be getting nothing but praise in the metal underground, despite playing a genre that saturated with bands that have a similar sound. Cage have been around since the early nineties so perhaps they have something that most of these post-millenium bands lacked. Power metal is a misunderstood genre; many bands miss the point when they focus on happy upbeat choruses and mid-nineties Helloween lameness. When power metal is performed with a focus on riff work and heaviness, the intensity can nearly match that of thrash or early heavy metal and NWOBHM bands. For an example of this, see bands like Lefay and early Nevermore. Some reviews have stated that Cage followed this formula of "power metal with balls," so getting this album was a no-brainer, despite it being difficult to find in the USA.

Sadly, while Cage do perform a darker, heavier style of power metal, they are maddeningly inconsistent. Sean Peck is a brilliant vocalist, his voice commands the listeners attention and forces him or her focus on what is being said. He sings with power and conviction and can go from near growls to screams with seemingly little difficulty. Unfortunately, he is absolutely terrible at writing choruses. The choruses need to go for the gut, yet still be catchy and memorable; the choruses here are just plain stupid. On "Kill the Devil" he just yells "Kill the Devil" over and over. If he was any better at writing vocal lines, his singing alone could carry the entire band.

The guitar work should have been much stronger. There are some really good solos, but they only appear sparsely, and are much too short when they are included. There are a few moments of brilliance as far as guitar work goes, such as the beginning of "Kill the Devil" and "The Philadelphia Experiment," but both are overshadowed by the lousy vocal lines and stupid lyrics. Other times, the guitars just play simple riffs and fail to add any excitement to the song.

Despite the several promising facets on "Darker Than Black," there isn't a single song where they all come together. There isn't a single song that isn't significantly affected by the negative aspects; therefore no songs really stand out and succeed as a whole. Not to mention that the whole album's concept is stale and tedious. Of course, all this makes the album not even worthwhile at a clearance price. Maybe they've managed to improve on subsequent albums, but this album is enough to turn off many to the band itself, so they won't even bother with the follow-up "Hell Destroyer."

You’ve already heard this album even if you are only somewhat experienced in the metal genre. While I found Snxe’s review underdeveloped and slightly off the mark, he did accurately depict the evanescence of this album. Darker Than Black is a bland and unoriginal album given a flashy coat of paint with its very sharp, heavy and professional production. Yet, not even that can save music that lacks any inspiration.

A metal album thrives and dies on the quality of its riffage and it is here that Cage truly disappoints. Either it is a typical generic metal riff, any metal veteran knows of the general category I speak of, with the occasional pinch harmonic thrown in to spice it up or it is in fact a good riff from an upper tier band—with the occasional pinch harmonic thrown in to spice it up. The only time this album rises above mediocrity is at the expense of the toil of another superior band. Even most European power metal bands manage to twist the very rigid formula of that genre enough to attain some distinction, but Cage shows no sign of attempting anything except a regurgitation of the last 25 years of metallic music. Particularly annoying about this impression is that Darker Than Black provides ample evidence that Cage has all the necessary talent and skill and the proper influences to birth their own musical legacy.

Well, their songwriting abilities could use some work. Whether it is the banal music or the actual presence of overused passages, many songs drone on longer than they should and choruses repeat too frequently. Certain songs also have rather abrupt transitions between musical passages that could be construed as intentional, but whether deliberate or not suffer my dislike.

As I remarked above, the production here truly impresses; crisp, distinct and heavy it really embodies all the characteristics a modern heavy metal album production should have. However, its exceptional quality also has a further enervating effect on the music. Metal requires vivacity and I would say a little imperfection and a few rough edges and between the tired music on display and the slick production, Darker Than Black has all the vitality of a corpse.

I can’t extend this criticism to Sean Peck, he really tries to enliven the proceedings with his imperious voice. In fact, he overextends himself to compensate for the rest of the music and ascends to a completely over-the-top performance that fails as often as it succeeds. This tendency actually reminds me of Eric Adams of the most over-the-top band in the world. Still, if one virtue exists on this album it is Sean Peck who has a thoroughly unique voice and can craft some memorable vocal lines.

Essentially, this album is a great introduction to metal, it hits most of the different qualities of metal and it does it in an appealing package. For anyone already steeped in the metal genre, however, Dark Than Black comes with too many clichés and not enough soul. In a field already crowded with heaps of mediocre and indistinguishable bands, you must offer something more than a refurbishment.

OK...trad metal style still lives on in America, and this album will go to vigorously prove that European bands don't have as much a monopoly on this style as they may think! Straight outta San Diego, Cage are a monster to be reckoned with, and I will get the only negatives about this album out of the way so I can concentrate on the positive.

First of all, the production could have been stronger for my taste--the drums could have been punchier, the guitar sound more dense and a little crisper, the bass slightly more prominent in the mix. That and after the appropriately creepy spoken intro, "Kill The Devil" makes for an awkward opening track, in my opinion--it doesn't have the same oomph as the rest of the album. After this, though, Cage lock, load, and aim for the center of your brain in vicious style.

The three-song tandem of "Blood of the Innocent", "Eyes of Obsidian", and "Philadelphia Experiment" really make this album something special to these jaded ears. The first of these three tracks sounds like a "Painkiller" outtake such is its intensity, the second is a classy workout with some tasty guitar harmonies, and the last of the three is a riproaring double bass workout that will inspire frantic banging everywhere. "Chupacabra" is slow and menacing, and "White Magic" is where Sean Peck mixes up the vocal approaches as mentioned below to chilling effect. Even "Wings of Destruction", 9/11 song though it is, has a majesty and dignity that appeals to me.

Peck is an incredible vocalist with equal parts Rob Halford and Glenn Hughes (RIP) in his forceful midrange belting--just because he can wail doesn't mean he always does, and his restraint is admirable, unlike most trad metal vocalists who shriek away as often as possible. Air raid siren howling aside, he also incorporates elements of black metal screeches a la Dani Filth and the occasional deep growl to make his point, as well as the odd falsetto, and he employs his weapons well. The guitarists shred with both taste and wild abandon, too, over a bedrock rhythm section; you can tell that these guys are veterans. And the lyrics are pretty damn good, too, only occasionally dropping into cliche.

"Darker Than Black" is one seriously major effort that will hopefully get these guys noticed outside of San Diego, because they are ready to go! I hope these guys get more exposure and a good tour someday, because they are worth it. Bet they're a helluva live band too...

Cage are probably the most skilled of the cheese-ball power metal acts pouring out of the metal industry in recent times. They have a killer vocalist, an awesome stage presence and they really deliver the screaming vocals and double-bass speed metal ala Painkiller style goods. While better than Primal Fear and those acts, this is a band in severe danger of being remembered as a memory of trend-matching skill more than an artistically viable act that really benefits the metal scene.

The songs themselves are strong enough, with flashing leads and blinding waves of vocal intensity blasting by at mach speed. The band though, does suffer from being highly cheesy (to a point of idiocy) in the lyrical department. While catchy, the songs often decay into "junk-food" status which leaves me a little skeptical as to why I would listen to this three weeks from now. If you like your stunningly produced and played, despite the artistic value though - this CD might be the perfect thing for you. (Note the amazing skullet within the album jacket as well, total class boys.)

This is "good" metal, but sadly it reeks of a certain "lack of creativity" that commonly haunts the "screaming metal" movement that is currently ruling the "traditional" metal market. I'd say but it if power metal is your thing, but don't worship it.

ALBUM OF THE YEAR!

Ok, so the final judgement of this year’s metal offerings may yet be some six months premature, but I’m sure that at year’s end, two albums will be key forces in the final battle: the monstrous true power metal releases of Grave Digger’s RHEINGOLD or Cage’s DARKER THAN BLACK, both reviewed here this month.

Formed in 1992, Cage has been kicking around the Southern California underground metal scene for over ten years now, but it wasn’t until 1998 that this true power metal quintet marked the release of their first album, UNVEILED. The band’s next album, ASTROLOGY, stepped up in all departments, especially the speed and songwriting, making it one of my top 20 albums of 2000. With the release of DARKER THAN BLACK, Cage have exceeded all of my expectations for the album; in fact, they shattered them.

DARKER THAN BLACK certainly lives up to its title. Cage’s third album is by far their heaviest, darkest work to date, and is a textbook example of the pure essence of heavy metal: no shortage of speed, heaviness, or melody. Guitarists Dave Garcia and Anthony Wayne McGiness offer up a platter of chugging, head-bangable riffs, and powerfully catchy hooks with a relentless battery of bass and drums provided by the two Mikes: Mike Giordano and Mike Nielsen. As if this merciless assault of musicianship was not enough, there’s still the talent of vocalist Sean Peck to reckon with. This guy can give Dickinson, Halford, and Harry “Tyrant” Conklin all a run around. Why he is not lauded with those vocalists is beyond me. His range, power, and control are each far beyond impressive.

Each element of Cages sound combines synergistically to create a sound that few bands can match. Think Judas Priest’s PAINKILLER and Halford’s RESURRECTION meeting some old Metal Church and ancient Savatage. Unlike most bands hearkening to the old school for inspiration, Cage does not fall into the trap of warmed-over songwriting ideas, trite subject matter, and cliched lyical slogans. Every song on DARKER THAN BLACK offers up something different, lyrically and musically. The spoken intro “Darker than Black” segues into the first real track, “Kill the Devil,” leading off with a little hook that’d make Criss Oliva proud to hear before going into the “chug-a-lug” main riff, reminiscient of Halford’s “Made in Hell (it wouldn’t surprise me if this riff was brought over as a gift to Cage by Roy Z, who provides the guest lead on “Winds of Destruction”). This one’s one of my favourite tracks on the album, and fairly representative of what’s to come. “Chupacabra” (lyrically based on the Mexican folk-tale of the “Goatsucker”) slows down considerably. I find this one to be just a tad too slow, though the solos are very good, and Peck’s vocals go from the high scream to a pseudo-growl with absolute fluidity. “Blood of the Innocent” is another great track, leading off with a Native American flute and chant intro (yup, this one’s a tune about Indian relocation). I love the sinister bass + drum intro and later the twin guitar attack on this tune, and the Maiden-esque melody on the next one, “Eyes of Obsidian.” Without a doubt, “Philadelphia Experiment” (lyrically about atomic testing), is the fastest, heaviest song on the album. The double bass kicks are furious, and the riffs catchy, ensuring a pounding of my fist in the air for the duration of the tracking. “March of the Cage” is a mid-tempo tune that picks up with some excellent soloing + harmonics starting at the 2:52 mark. Sean Peck pulls a few vocal tricks for the listener on “White Magic” alternating his clear voice with a raspy growl and also a throaty growl, probably for no other reason than to prove that he can accomplish anything with his voice. Nearing the end of the album, we have a somewhat Savatage/Metal Church-ish track with “Door to the Unknown,” followed up by “Secret of Fatima” (nice bass interlude in the middle). The epic closer of the album is ‘Wings of Destruction,” a speedy 8-minute track with guest leads provided by guitarist/producer Roy Z (currently in Halford). The time changes here are kickass, the fury abating around the 3 minute mark to give way to a slower interlude with some air raid siren effects before exploding 30 seconds later into a King Diamond-ish falsetto backing chorusW the hell? Very cool touch here!). We’re also treated to nearly a full minute of guitar insanity starting around the 4:17 mark, with Dave, Anthony, and Roy Z all taking a turn. Shit! There’s still 3 minutes left in the song; these guys just do not give up. Closing out the European edition is another version of “Chupacabra,” this time sung in Spanish. While this is a neat idea, I heard enough of the song the first time around.

The production on DARKER THAN BLACK, done by Richard Carr (who has also worked on Halford and Bruce Dickinson albums) is as clear and as crisp as can be without sounding artificial. The artwork, too, from cover to booklet layout, is also very nicely done by Mark Sasso (who contributed to Dio – KILLING THE DRAGON). On my version, the jewel case comes with a cardboard slipcover featuring the album cover in 3-D effect. I love it when bands put the extra touches like this on their albums; as if the album wasn’t good enough already, this kicks it even further.

Cage have developed the sound on DARKER THAN BLACK with a maturity and intensity in musicianship and songwriting that sets this album far above the high bar set previously by ASTROLOGY. In a time when too many bands like Sonata Arctica playing shitty synth washes over flaccid guitars are prepackaged by labels as power metal, here comes Cage, unleashing a much assault to remind many just what power metal is supposed to sound like. Power metal with balls. That’s Cage’s mission statement.

(originally written by me for www.metal-rules.com, June, 2003)