CD: W.A.S.P. - Golgotha

He used to 'torture' maidens on stage, but what is Blackie Lawless up to now?

It’s sometimes suggested that few things in music are as ridiculous as Christian metal. The point, however, is moot. The band Stryper, for instance, play with such inspired fury any sermonising seems entirely organic. Then there are the likes of Alice Cooper; so low-key about his faith you might not even know he had one. Most surprising of all is Cooper lookalike Blackie Lawless. For those who haven’t followed his career closely, the W.A.S.P. lead singer – famous for “Animal (Fuck Like a Beast)” – is also born again. He has been for some years.

The title Golgotha here, of course, refers to the site of the crucifixion. Still, for all its religious imagery, the LP's openers – “Scream”, “Last Runway” and “Shotgun” – possess an anthemic infectiousness that Lawless would have been proud of back when he performed with a flame-thrower in his codpiece. Remarkably, if anything his voice sounds even more apocalyptic.

So then, full marks for the album’s beginning. Unfortunately, the melodic lightness doesn’t last. Soon we are into a somewhat flat middle section including “Miss You”, “Fallen”, and the rather serious “Eyes of My Maker”. If Lawless is trying to atone for something – such as his old habit of throwing raw meat at the crowd – he may be going the wrong way about it.

Still “Hero of the World” and “Golgotha” do see things out with something of a bang. As for the whole package, it’s an intriguing blend of hair metal, guilt and religious angst worthy of the lengthy tour the band (essentially Lawless plus friends) intend to take it on. Thirty years ago the leather-clad singer sang about being a “wild child” “wanting to be somebody”. That someone has turned out to be a complex and conflicted 59-year-old, who's still big in Germany and Sweden. And, possibly, all the better for turning out against expectations.

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
The opening songs have an anthemic infectiousness that Lawless would have been proud of back when he performed with a flame-thrower in his codpiece

rating

3

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more new music

Dystopian uneasy listening that is far from the mainstream
A particularly British torch song tradition hits some grandiose highs
One of their best-sounding classic LPs comes with live sets, rare film and dodgy studio jams
Young composer and esoteric veteran achieve alchemical reaction in endless reverberations
Two hours of backwards-somersaults and British accents in a confetti-drenched spectacle
The Denton, Texas sextet fashions a career milestone
The return of the artist formerly known as Terence Trent D’Arby
Contagious yarns of lust and nightlife adventure from new pop minx