Danzig/Deth Red Sabaoth/2010

I am a Danzig fan. I own everything the man has ever done. Misfits, Samhain, Glenn Danzig and the Power and Fury Orchestra, Danzig, Black Aria I and II… all of it. Shit, if he somehow dug up an old garage recording of his high school band, Whoodat and Boojang, I’d probably buy that too. I have a Misfits, Samhain and Danzig totem pole tattoo thing taking up much of my left arm. Clearly I mean business when it comes to Danzig fandom.

That’s why this review is going to be painful to write.

Danzig’s ninth studio album, Deth Red Sabaoth in some ways represents a return to form. Unfortunately for me, it also represents a continuing and frustrating trend -- the belief that with proper, even decent production -- this could have been a truly great Danzig album.

Despite internet scuttlebutt to the contrary, the problems that plagued 2002’s I Luciferi and 2004’s Circle of Snakes are present here as well. This is one of the most poorly mixed albums I have ever heard. The vocals are either buried by the muddy mix of Glenn’s backing band (Deth Red Moon) or sound as if they were recorded in a tin can (On a Wicked Night). Admittedly, Glenn’s earlier punk output with the Misfits and Samhain lacked quality production. Often it was downright awful. However, the vocals were always upfront in the mix. The best pipes in punk, gloriously on display, to the delight of all devil-locked Danzig devotees.

The Rick Rubin years continued this trend and even added a more musically sophisticated backing band. Eschewing his punk rock roots, Danzig the band, morphed into a blues rock powerhouse, complete with “borrowed” Howling Wolf and John Lee Hooker riffs. In spite of the benefit of a band of more capable musicians, Rubin knew who the star was, and wisely kept Glenn on top of the mix.

Compounding the fact that Glenn’s vocals are once again non-existent, is the inexplicable dominance of guitarist, Tommy Victor. The guitars are WAY up front in the mix, blanketing the entire band in pinch harmonics, directionless shredding, and dive bombs. There are more leads on this record than a Steve Vai solo project. Which is odd, because Glenn has had a history of frustrating past guitarists (John Christ) by limiting their lead guitar contributions. I can’t help but to imagine how fantastic an album by the original line-up could have been if Glenn had ever turned John Christ loose like he did Tommy Victor on Deth Red Sabaoth.

If you can get past the sonic malady, the material itself is at times, strong. Hammer of the Gods (one of a handful of tracks in which Glenn is audible) is a thunderous opener reminiscent of the I Luciferi era. JuJu Bone, is a bluesy track that would have fit nicely on 1992’s How the Gods Kill. Glenn has always had a knack for powerfully epic album closers and does not disappoint with Left Hand Rise Above. Deth Red Moon would have been the best cut on the album if the vocals were even remotely audible.

The album packaging is more of the same for later-era Danzig. Half-naked porn stars in skull masks, illegible copy littered with typos, tastelessly photoshoped images, and of course, Glenn mean-mugging for the camera. He really needs to hire a skilled graphic designer. The cover painting is good if you can get past the GIANT Deth Red Sabaoth type treatment.

Glenn is heading toward 60 and running out of time to put out another quality release. I really wish he’d go the Johnny Cash route and just do stripped down acoustic blues records from here on out. I think it is his best shot at regaining some much needed artistic credibility. No one wants to see an aging metal dude, acting like a hard ass in a fishnet tank top, singing about Satan, to a crowd of mulleted, unemployed stoners.

As for Deth Red Sabaoth? It is an album that will not make you forget the fantastic output of the Rubin years, but instead will likely have you messing with the EQ and counting the days until we get a properly remixed and remastered release. 6/10