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{"id":2473,"date":"2013-11-05T12:27:48","date_gmt":"2013-11-05T18:27:48","guid":{"rendered":"http:\/\/www.patheos.com\/blogs\/geekgoesrogue\/?p=2473"},"modified":"2013-11-05T12:27:48","modified_gmt":"2013-11-05T18:27:48","slug":"ggr-music-review-stryper-no-more-hell-to-pay","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/geekgoesrogue\/2013\/11\/ggr-music-review-stryper-no-more-hell-to-pay\/","title":{"rendered":"GGR Music Review: Stryper – “No More Hell To Pay”"},"content":{"rendered":"\n<\/head>

From Geek Goes Rogue TV Editor Zach W. Lorton, who is slowly crawling out of his cave after Daylight Savings Time thought it necessary to end\u2026<\/em><\/p>\n

The name Stryper<\/a> is thrown around the rock world today with both reverence and derision. Cheesy and campy when they hit the Southern California scene in the 1980s, their musicianship was nevertheless undeniable. These guys knew how to use heavy metal to their advantage. Today, the cheese and camp have been abandoned, and while they still don their signature yellow and black look when performing, gone are the days of the battle armored van and military-styled uniforms.<\/p>\n

$\"\"$ <\/a>With \u201cNo More Hell to Pay\u201d, Stryper\u2019s first release of all-new material featuring the original lineup since 1991, the band finds themselves firmly back into the groove in which they thrived back in their heyday. With 2006\u2019s \u201cReborn\u201d, the band resurrected their legacy with a renewed energy, but still seemed like they were finding their way back to what worked best for them. \u201cMurder By Pride\u201d, while a worthy effort, didn\u2019t hit the high marks of freshness set by the previous release. But since then, the band has released \u201cThe Covering\u201d, an album of cover songs, and \u201cSecond Coming\u201d, an inspired re-recording of 12 of the band\u2019s most well-known classics. Those two releases have given Stryper the chance to sink into the confidence worthy of their legacy.<\/p>\n

\u201cNo More Hell To Pay\u201d is Stryper in classic form, aged very well and more mature for the new era (think Metallica\u2019s triumphant \u201cDeath Magnetic\u201d after the fetid mess of \u201cSt. Anger\u201d). Everything you love about the band is here \u2014 the classic harmonies, the relentless backbone from drummer Robert Sweet and bassist Tim Gaines, and the soaring, inventive solos from guitarist Oz Fox and frontman\/guitarist Michael Sweet. Speaking of the darker-haired Sweet, his vocals on this record are by far some of the best he\u2019s ever recorded, with Stryper or anyone else. Yes, his voice is one that you either love or hate, and while there\u2019s still some sugary sweetness there, he sings with the grit and growl that this music really calls for. The habanero of Sweet\u2019s range and power help cut the syrupy timbre and make him sound like the frontman we\u2019ve all wanted him to be.<\/p>\n

The production values are also improved from the band\u2019s last two albums of original material, and while some effects are a little dated and somewhat annoying (the phase shifting on \u201cTe Amo\u201d doesn\u2019t add to the song at all), this is a very well-balanced record. The drums have a sharpness to them that\u2019s been missing from their last efforts, and the mix draws you in from the very first track. From brutal soundscapes to majestic melodies and anthemic riffs, the boys from SoCal don\u2019t give the listener much room to breathe, but it\u2019s a welcome claustrophobia. There are some cliche lyrics (just look at the track listing to see what I mean), but when they abandon cliche for creativity, the content is as strong as it\u2019s ever been. A misguided cover of the Doobie Brothers\u2019 \u201cJesus is Just Alright\u201d plops its middle-aged butt in the #4 track spot, which is unfortunate \u2014 not only was the remake unnecessary, but with the exception of the slow bridge, it sounds plodding and uninspired.<\/p>\n

On the bright side, \u201cThe One\u201d could be the standout cut from this album \u2014 a powerful ballad in the band\u2019s signature style with a soaring guitar solo throughout, and in this reviewer\u2019s opinion, worth the price of the album on its own. Seriously, it\u2019s that good. Thankfully, Stryper\u2019s tricks are plenty, as cuts like \u201cThe Legacy\u201d, \u201cSaved By Love\u201d, \u201cWater Into Wine\u201d, and the opener \u201cRevelation\u201d stick in the listener\u2019s mind like a virus. Of course, the album isn\u2019t perfect \u2014 they could have left 3 tracks off the album and ended up with a more cohesive and higher quality product.<\/p>\n

It\u2019s unfortunate that the faults on this record are as glaring as they are, because there are so few of them. But in my opinion, this is one of the strongest album\u2019s of the band\u2019s career, and while it doesn\u2019t have the platinum potential of \u201cTo Hell With the Devil\u201d, the new record is definitely a slice of fried gold.<\/p>\n

No More Hell To Pay<\/em> is now available on iTunes<\/a>, Amazon.com<\/a>, and most music retailers.<\/p>\n

Rating: 4 Geeks out of 5<\/em><\/p>\n

Zach W. Lorton<\/a>\u00a0is a media producer and professional DJ\/MC by trade, and a comedian, actor, and musician by default. \u00a0His debut music project is set to begin recording in 2014, and will likely take the world by storm, possibly in the form of a Sharknado.<\/em><\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"