Of Human Bondage

Released in the early months of 2002, Of Human Bondage marks the final chapter in the second life of German power/thrash/progressive metal band Angel Dust. The band’s first incarnation, active in the 1980s, indulged in a fairly lackluster form of speed/thrash metal that resulted in two LPs. After a long hiatus, Angel Dust returned in the late 1990s with a revolutionized line-up where only drummer Dirk Assmuth and bass player Frank Banx were left from their 1980s incarnation. The new line-up embraced a different sound, retaining some of the ballsy, aggressive pacing and riffage of their speed/thrash days, but combining them with a wider array of influences, ranging from power metal to progressive metal. The end result, which can be appreciated also on Of Human Bondage, is a dark, heavy form of progressive/power metal that nods to bands like Nevermore and Grip Inc as frequently as to acts such as Evergrey, Vanden Plas and Rough Silk.

The album’s main strength lies in the shrewd combination of brutal sonic bludgeoning and majestic melodic openings. The trio of songs that start the album illustrate the approach well. These songs feature massive thrashy riffs, courtesy of the band’s new guitarist, US-born Ritchie Wilkison - clearly a disciple of the US thrash metal scene. The drums are tightly locked with the guitars and bass to form an impressive, fast-paced sonic barrage, on top of which singer Dirk Thurisch busts out his lungs with a voice that instantly brings to mind the immense Warrel Dane. The impact is devastating, taking no prisoners whatsoever. Suddenly, however, the songs veer into chorus sections that feature absolutely irresistible melodies, full of power and melancholy, masterfully interpreted by Dirk Thurisch - one of the most underrated singers in this genre. Steven Banx’s keyboards are also distinctive, with their 1980s retro-futuristic tones adding sudden bursts of colour and projecting the whole album into a different dimension. Truth be told, this overall approach is not radically different from what Nevermore themselves were doing in those years, for instance in their 2000 LP Dead Heart in a Dead World. However, Angel Dust retain a unique, distinctive sound, more germane to the Teutonic speed/power metal tradition.

The album is cleverly constructed, alternating songs that follow the brutal-then-melodic format described earlier, to others that explore slightly different directions, such as the dark, mournful ballads “Disbeliever”and “The Cultman”, cleverly placed at strategic points in the tracklist to provide some respite from the bludgeoning of the other tracks. The album mid-section veers into weirder directions, with “Forever” and “Got This Evil” featuring a certain 1980s hard rock / metal swagger as well as slightly over-the-top vocal melodies (which do not actually work so well in the case of “Got This Evil”).

The biggest surprise, however, is kept for last. The album closes with “Killer”, an unlikely cover of the 1990’s techno/R&B hit penned by DJ Adamski and Seal. This song is hands-down the best metal cover of a non-metal track I have ever heard. It takes Adamski’s iconic bassline and transforms it into a ferocious guitar riff that, combined with the fast-paced drumming and synth loops, inject a sense of urgency and peril to the whole song. Meanwhile, Seal’s enigmatic lyrics and vocal lines take new life through Dirk Thurisch’s menacing, slightly computerized voice. Dark, sinister and futuristic – “Killer” is an instant triumph that closes the album in the best possible way.

It’s hard to find weaknesses in this record, but I am not a big fan of its loud, brickwalled production. I feel that a tad more nuance in the sounds and in the mix, injecting a little bit more dynamics into the music, would have done more justice to the songs. Readers should also be warned that it may take a few listens to fully appreciate what Angel Dust have done here. On first impact, the album may come across as slightly raw and unpolished (perhaps another unfortunate consequence of the production). With time, the songs will unfold and reveal surprising details and nuances, so repeated listening is recommended.

In comparison with the band’s previous albums, Of Human Bondage may perhaps fall short of the grandeur and vision of Angel Dust’s masterpiece, 2000’s Enlighten the Darkness, but it comes off as a close second. It is unclear whether the Angel Dust story will have more chapters yet to be written (the band are currently active, but it has been years since a new album has been announced in the makings). But if Of Human Bondage were to be the final chapter in Angel Dust’s story, it is safe to say that it would have sealed their discography on a remarkably high note.

Ah, Angel Dust. Somewhere between 1988 and 1998, these guys went from third rate Thrash Metal to first rate, ass-kicking Progressive Power Metal with serious balls. This was their last album to date, and that was six years ago, so who knows if we'll ever get another one from them, but this is some seriously good shit. Even though this is more streamlined and modern than their previous works, with heavier riffs and more conventional song structures and instrumentation, that does little to deter the amount of sheer ass-stomping on display here.

The title track is a good song, showcasing what Angel Dust are all about with a crunchy main riff and some slicing synth melodies, but it's the double-whammy of "Inhuman" and "Unreal Soul" that gets things going - just good, catchy fun at its finest, done by one of the best bands in the genre. "Unite" and "Forever" are equally mouth-watering displays of virtuosity, and then you get the awesome, epic ballad "The Cultman," which has singer Dirk Thurisch stretching out his vocal chords for quite an admirable performance. Definitely the best one on here, and it's nothing like what they were doing before, either, with a masterful display of acoustic guitars complimenting the heavier parts and making for a nice atmosphere. Not everything is good, though, as we also have suckjobs like the lame "Disbeliever" and the faceless "Freedom Awaits," as well as the awkward "Got This Evil," with its 80s rock influences that seem out of place on such a dark, straightforward album.

Inconsistencies are a problem here, but really the only thing holding Of Human Bondage back is the fact that it just isn't as good as Angel Dust's previous work. There are many good songs here, but none that match the brilliance of the seminal Enlighten the Darkness or the visceral, blistering intensity of Bleed - compared to those records, this one comes off as uninspired. I do like it, though. You will, too, if you enjoy Power Metal that doesn't suck.

Originally written for http://www.metalcrypt.com