Intracranial Mass

Lazarus Sin's sole release (although there apparently was a second, unreleased album under the name Lazarus), 1988's Intracranial Mass, manages to be catchy and utterly bizarre simultaneously, a feat more difficult than it sounds which few other acts have successfully pulled off (Deep Switch's Nine Inches of God and Grudge's Barbarians of the New Earth come to mind). There's no one thing that's especially strange about it - rather, it's a combination of factors that come together to make it a one-of-a-kind experience. First is vocalist Joseph Tierney, whose commanding yet somewhat demented delivery is both entrancing and unnerving, sometimes reminding me of a more melodic Tom Gattis (Tension, Wardog, Ballistic).

The second is the song structure, which is actually quite repetitive, something which in most cases tends to be a hindrance to my enjoyment of an album, yet here manages to be strangely effective. There are a few different reasons for this; one is that the riffs that the songs are built around are always very strong, never outstaying their welcome even after being repeated for several minutes. Another is that there are often slight variations on a riff or melody, subtly changing the mood of the song while feeling like a totally natural progression, almost jam-like in nature at times, as though the band members are just riffing off each other, making it up as they go along. The guitar solos are almost always placed at the end of the songs, which makes them feel like a bit more of a treat, as well as a payoff for the repetitive riffing up to that point. Guitarist Edward Cross is certainly quite talented, even though most of his performance consists of relatively simple (if effective) riffs.

A third element is the bass, which often acts as a second guitar, with bassist David Thorne going off and doing his own thing while still doing a great job of complementing the riffs and lead work. Outside of simply being "odd" and "catchy," though, the actual tone of the album is generally quite dark and ominous, the repetitive nature of the songs helping to create a crushing, droning atmosphere of a sort that I think would feel more at home in doom metal, though musically there aren't really any doom elements to be found here. Besides "7734," an instrumental piece, and the album's single ballad, "Monument," which starts with an extended piano solo, there isn't much musical variation in the album, but that's hardly to say that every song sounds the same, merely that the band sticks largely to the same structures and atmosphere throughout.

The album's true masterpiece comes in the final track, "Out of the Box," which, clocking in at nearly 10 minutes, finds Lazarus Sin at their darkest and creepiest, with a main riff crushing enough to put many doom acts to shame. Much of the album is also at a tempo slower than that of most traditional metal songs I've heard, though its explosion into relentless, driving riffs and totally bonkers soloing near the end of the song is much faster. To go into too much more detail into how, exactly, this band works so well, would be out of my range of ability as there's something about them that's hard to put one's finger on, an arcane peculiarity unlike anything else I've ever heard, largely driven by the inimitable performance of John Tierney. While not strictly USPM, I think fans of more technical, off-kilter bands like Slauter Xstroyes and Cauldron Born would be most likely to appreciate this, though any fan of unconventional metal would be amiss not to at least give it a try. After 32 years, this singular album still has much to offer, outside of the inexplicable and totally out-of-character album cover. If you're in search of some new bizarre and esoteric wonder, look no further than Intracranial Mass.

A CHAOS REALM UNEARTHED GEM!!!

LAZARUS SIN – “Intracranial Mass” CD ’88 (Private, US) – This review marks the completion of a long quest of mine, and it’s one that has yielded results even beyond my hopes. Anybody remember the British mag Metal Forces? It was a bible during the mid/late ‘80’s & I used to grab it just to read reviews by people like Bernard Doe & Dave Reynolds. Anyway, I remember seeing an ad for this CD-only album by Eugene, Oregon’s LAZARUS SIN in one of those issues. The band name, title and odd cover photo of a small boy praying the Rosary stuck in my mind. I tried to contact the band several time to no avail, then finally stowed the name away on my want list. It stayed there…for years & years. I never saw a copy and then, as the ‘90’s melted into the ‘oughties, it initially slipped from my cranium (ouch!). Then, a few years ago, I noticed it cropping up on lists and fetching sickly prices. Ultimately, a month or so ago, during internet browsing, my eyes lit up, for there was a copy at a decent price. I went ahead and pushed “enter”.

It was an interesting moment when the package arrived. I’d never even heard this album, never even had a tape of it, so when I slid LAZARUS SIN’s “Intracranial Mass” into the ol’ CHAOS REALM laser blazer some 16 years down the line, I expected to most likely be let down. Instead, to my delight, I was blown to the wall by an album that made me want to deck my 46 year old body in as much leather & spikes as I could find. I’m warning you now, I am going to issue a very high comparison here but do not doubt me, oh legions of metallic mayhem! When you factor in the ripping ‘80’s metal style, the quirky ‘70’s overtones, the scorching production, the super-charged-Jackson-rifferama & the howling vocals, the best assessment I can come up with is Slauter Xstroyes – “Winter Kill.” Yes folk, this is that good.
As opener “Blood For Mercy” reaches the apex of it’s intro and vocalist Joseph Tierney greets us with a commanding “Yeah!” I can just picture him striding onstage, decked in fullmetal regalia beneath a shroud of dry ice. At this point, Edward Cross peels off a barrage of Charvel-toned riff-storming that scarcely lets up for the next ¾ of an hour. After this 6 ½ minute statement of metal intent, the band downshifts slightly for “Apothecaries’ Measure.” Featuring a melodic mid-section reminiscent of “Victim Of Changes,” it also sees Cross unsheathe a scalding solo that, as many do on this album, puts him in the league of Paul Kratky. Next arises the instrumental “7734,” Maiden-ish in it’s intricacies and actually acting as a bit of an extended prelusion (anybody remember Exxplorer?!) to “The Son Of The Jackal.” This 6 ½ minute beauty marks the end of Side A. That’s right, I said Side A. Even though “Intracranial Mass” was exclusively released on CD, these guys were apparently so into the metal vinyl culture that they labeled the track-listing split over 2 sides. To me, that alone makes this thing as cool as shit! Anyway, “…Jackal” is another barnstorming metallic classic, combining aspects of Priest, Sabbath & Maiden plus a thoroughly unique individuality, highlighted by the extended acoustic guitar coda.

Believe it or not, the 2nd half of this record is where LAZARUS SIN really gets motoring! Next to decapitate your sorry ass is the 8+ minute “Author Of Sorrow” (such a cool title!). While these songs are surely all epics, there is none of the pussy-fied Bland Guardian shit here that metal would descend to into the decade following this masterpiece. This is pure metal, like when Priest did “Saints In Hell,” Maiden did “Hallowed Be Thy Name” and Slauter Xstroyes did “Black Rose & Thorns.” This just murders ass, with Tierney wailing, Cross mauling his screeching axe and David Thorne (bass) & Bolund Mace (drums) laying down rhythms like a Harris & Binks all-star team. “What’s this,” I say, “Piano?” as “Monument” opens reminding me for all the world of the “Sad Wings Of Destiny” classic “Epitaph.” Eventually, however, it builds into a melodic 6 min showcase for Tierney’s singing prowess and Cross’ haunting solos. “Intracranial Mass” is then brought to a dazzling conclusion by one of the heaviest ‘80’s metal songs I’ve ever heard (or any decade’s, for that matter!), the devastating 9 ½ minute “Out Of The Box.” Opening with a crushing, doom-inflected riff, the song then follows totally cool, seamless changes into a solo by Edward Cross that just slays me. There’s a lead guitar tone that I worship that’s not been achieved a whole lot. Think of Tipton in “Dreamer Deceiver,” the Marcus guys in “Rise Unto Falcon” or how about Survivor’s “Deceive Me,” from “All Your Pretty Moves?” Yeah, it’s that clean, naked and plaintive Gibson wail and it brings tears to my eyes in the freaking awesome solo it’s employed for here. Finally, with Tierney shrieking “Out Of The Box!” repeatedly, this freight train not so much as pulls into the station, but plows into it at full speed, concrete, steel & diesel fuel exploding into a mammoth fireball the likes of which defines pure annihilation.

All too often, albums that are considered rare or obscure end up being much less than they’re cracked up to be, due to the over-hyped quality of their legend. In the case of LAZARUS SIN – “Intracranial Mass,” however, listen to my words carefully, you fans of pure metal. This motherf*cker is a Metal Force worth anything you have to do to obtain it. Anything!
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