Lights out strain1/18/2024 On these, Graveyard sound like a completely different band, particularly Nilsson, who softens his voice to a gentle coo on the slowly swelling, strings-heavy epic "Slow Motion Countdown". Where Lights Out diverges is on the ballads. Graveyard already proved they could turn out catchy, scream-y blues-rock songs like Lights Out highlights "The Suits, the Law & the Uniforms" and the hyperkinetic "Seven Seven" on 2011's Hisingen Blues. The anger is even more palpable on "An Industry of Murder", a death march that sounds like "Black Sabbath" played in double-time, where Nilsson finds common ground between 60s hippie-speak and OWS sloganeering, howling, "The unholy alliance, god and money seals the pact/ Old friends turn into enemies, when greed has set your path." The furious "Goliath" includes references to "consumer wars" and "wolves at the door" over pile-driving drums and the dueling, endlessly soloing guitars of Nilsson and Jonathan Ramm. Lights Out also shares the subtle political undercurrent of many of those early metal records, though the targets are vague enough to be as applicable to 2012 as to 1972. It's true that Graveyard disregard nearly 40 years of the genre's history Lights Out essentially picks up where Paranoid and Machine Head left off, and re-imagines a different path for metal that amps the intensity of the originators but keeps the Mississippi Delta-via-Birmingham vibe intact. But the hellacious, Bon Scott-like screeching of Joakim Nilsson and the darkly danceable groove that unmistakably slithers through the band's third record, Lights Out, point to a tradition of American blues and European blues rock that's always been part of metal's family tree, no matter the latest fashion.įor contemporary metal fans, Lights Out might sound more like Wolfmother- or a supercharged version of the Black Crowes- than an actual metal record. Pitched as the midpoint between Sabbath-obsessed sludge merchants like Witchcraft and funkier, Free/Thin Lizzy-inspired outfits like Horisont, Graveyard don't stick to strict 12-bar formulas or indulge in the usual "I can't quit you baby" blues lyrical clichés.
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