Metal Mad

In between the energetic Racing and the creative masterpiece 2012, Japanese heavy metal veterans Loudness were caught in a string of solid but overall forgettable releases and Metal Mad perfectly exemplifies this situation. The band offers an interesting mixture of numerous metal genres. The quartet overall still plays heavy metal with melodic guitar riffs and ecstatic solos, dynamic rhythm section and raw vocals. A few of the faster tunes however also flirt with thrash metal riffs. The slower tunes focus on an oppressive groove metal atmosphere and some psychedelic doom metal vibes.

While this mixture sounds intriguing on paper, this formula had already been used on the predecessor and would continue to be used on the successor as well. The tracks on Metal Mad are solid but simply not memorable. As soon as a chorus gets addicting, a guitar riff develops a creative twist or the rhythm section shakes off all boundaries, the respective song is already over and forgotten. The song writing is lacking wit, precision and identity.

From time to time, the guitarist's weakness for Indian folklore shines through and helps at least a few tunes to stand out even though this influence had already been used in the band's experimental phase in the late nineties. The plodding epic ''Can't Find My Way'' has a hypnotizing and meditative tone at times that might not sit well with heavy metal purists but helps the song leave a significant atmospheric mark. ''Gravity'' equally flirts with a psychedelic middle section consisting of haunting vocal effects, uneasy guitar patterns and playful rhythm section.

Metal Mad's problem is that the conventional heavy metal tunes like the opening title track ''Metal Mad'' are too predictable and tame while the more experimental songs like the psychedelic alternative rock power ballad ''Whatsoever'' are hard to digest and almost pretentiously weird. This record certainly won't appeal to a larger audience. It needs the listeners to be really patient to let the contradicting song writing grow on them as time goes by.

In the end, Loudness' Metal Mad isn't a bad record but only recommended to avid collectors and fans who equally appreciate the band's more conventional heavy metal soundscapes and its guitar-driven experimental phases. This release needs some more time to grow than most other records. However, it offers at least a few hidden gems with psychedelically droning doom metal tune ''High Flyer'', nervously fidgeting alternative rock outburst ''Spellbound #9'', independent rock power ballad ''Whatsoever'' as well as hypnotizing and meandering epic ''Can't Find My Way''.

This is the twenty-second full-length release by Loudness. For those of you who don’t know, that’s many. How can a band that’s been around for so long still create an album that’s great?

Well, they’ve done it. “Metal Mad” is a superb release from the Japanese combo. This was a pleasant surprise indeed. I figured most of the tracks would be filler, and there’d be one or two descent tracks. Once again I was proven wrong. It begins with the instrumental “Fire of Spirit” that has amazing drumming by Munetaka Higuchi. It’s a same how underrated he is. This lead’s to the title track “Metal Mad,” which is one of the best Loudness tracks ever conceived. It’s extremely catchy and the solo is something truly to behold. Akira Takasaki is one hell of a guitar player and just like the drummer Munetaka Higuchi; he’s underrated. It’s truly a shame. This is one of the most addicting songs I’ve ever heard. The next three tacks are great. “Spellbound #9” is an odd song. Minoru Niihara uses some funky vocals here that are defiantly out of the ordinary. The production on his voice makes him sound distorted. This actually works and the song is quite enjoyable. “Crimson Paradox” is also catchy with a cool riff and vocal layers.

The ballad-like “Whatsoever” isn’t very good. It goes nowhere and everything about it is boring. Nothing special here, it’s one of those skip tracks. “Call of the Reaper” isn’t too bad. Nothing mindblower. This leads to the last three tracks of the album. Which I must say are the worst on the album. None of these tracks are interesting which is a bummer because most of the album is fantastic.

So there you go, seven out of the eleven tracks are worthwhile. Not bad for their twenty-second release. This is a great album that will probably surprise many fans; this is a good album to start with if you’ve never heard Loudness. You won’t be disappointed with this album.

Everyone knows the deal with Loudness - they are a legendary Japanese Metal export best known for the blistering guitarwork of Akira Takasaki, and a band whose style has undergone alot of transformation since the early 80's. For the better part of the 1990's, Loudness went the 'Pantera' route, and since then, it seems the band has been sort of stuck in that era. 'Breaking the Taboo', this record's predecessor was still firmly entrenched in Pantera worship, and at times, even bordered on radio-friendly. Metal Mad, as its name suggests, pays more homage to the Classic Metal that Loudness became known for, but never quite manages to shuck that 90's Metal sound completely, at times even wallowing in it. Luckily, however, there is just enough of the classic Loudness feel here to save even the more egregious Nu Metal tunes.

Tracks like 'Metal Mad', 'Black and White', and 'Call of the Reaper' (especially) have a faster feel not unlike a lot of tracks on Disillusion. Akira's guitar solos on these songs are especially impressive, if slightly abridged compared to his previous work. This is the main reason for the overall slightly more 'Classic' feel to the album. There seems to be a bit more acknowledgment of Loudness' past than on other, more recent efforts. I won't pull punches, though. These tracks don't save the album. In order to enjoy this record, you have to ultimately either look past the Nu Metal rubbish, or accept it on its own terms.

This album's lows are LOW. When the weakest track on your album is also the longest, (at just over seven minutes) either way you look at it, you're in trouble. Vocally, Minoru Niihara does give a decent performance on certain songs, particularly the album's strongest track, "Call of the Reaper", but the rest of the time, he's letting out that nasally whine of his, and it can be more than slightly irritating. Basically, on the vocal front, if you were never a fan of Niihara before, he won't be throwing in any surprises to change your mind.

Ultimately, Metal Mad gives plenty of nods to its past glories, but - perhaps because of the band's commercial success in their homeland - they seem reticent to shed their Nu Metal flavour. It is still a decent record, though, for Loudness fans, obviously, and to a lesser extent, fans of Akira's guitar work, which is impressive as always, but of course subdued. I wouldn't recommend it, but Loudness is a tight Metal outfit, and although their current sound isn't my cup of tea, all ten tracks are quality, within the context of what they are.

Highlights: Call of the Reaper, Metal Mad, Black and White

Lowlights: Can't Find My Way, Gravity, Crimson Paradox