Sacred Reich: Awakening Album Review
Metal has undergone an awakening in recent years. After an agonizing absence where metal receded from public view, classic thrash bands collectively rose from darkness. As new generations of kids got hooked on modern releases by 80’s thrashers, Sacred Reich was conspicuously absent.
Signs of life came from the Sacred Reich camp in 2007 with a few European festival appearances. Without new music or a touring presence, Sacred Reich missed out on the renewed careers enjoyed by their peers. That imbalance is finally shifting with the release Awakening.
Awakening is the first new Sacred Reich record in 23 years. Phil Rind and Wiley Arnett remain from the classic line-up. Although Greg Hall has moved on, drummer Dave McClain has rejoined the band. At 22 years old, newcomer Joey Radziwill injects a dose of youthful enthusiasm on guitar. The new line-up has crafted a disc worthy of the Sacred Reich legacy.
Artwork for Awakening is deceptive. At first glance, the distinct lack of color hints at simplicity. Plain black and white carries an old-school DIY aesthetic. Ultimately, Sacred Reich’s iconic mascot makes the cover instantly satisfying.
Closer inspection reveals complexity. Buddhist deities occupy the painting. Suddenly, the title “Awakening” transcends interpretation as the literal rebirth of a dormant band. Buddhist themes become glaringly apparent in the lyrics, particularly in “Manifest Reality” and the title track. Collectively, this spiritual lens extends throughout the album. The result is a message of positivity, hope, and salvation, even as songs tackle the familiar themes of death, war, and division.
In the days of vinyl, physical limitations kept albums short and sweet. Sacred Reich have strayed from the current obsession of maximizing CD space. The result is eight songs that flow naturally and remain free of the filler that weigh down modern releases.
Musically, there are no weak tracks. Some moments harken back to Ignorance as the band invokes the speed that characterized their classic debut. Tempos fluctuate throughout the album, Wiley’s leads combine technicality with melody, and Dave takes a thoughtful approach to his drum performance. Multiple listens reveal why the band delayed the album to allow McClain to fulfill commitments with Machine Head.
Phil Rind, rather than lose his edge, seems to have improved vocally. He is both competent and confident as a vocalist. Throughout the disc, Phil uses his voice as a melodic tool rather than a mere blunt instrument of force. One example is the chorus of “Divide and Conquer.” Rind is not shouting a dire warning but actually singing.
Technology has changed the way bands record. Drum triggers have become the norm in metal. The result is a mechanical sound that obscures the human element of a drummer behind his kit. Sacred Reich have shunned this trend of studio enhancement. The result is a natural sound of four musicians playing together in a room. There is an enthusiasm in the sessions that is evident during playback.
Awakening is the sound of a band truly enjoying the creative process. Sporadic shows have been replaced with legitimate tours. A split single with Iron Reagan and shows with Gwar are exposing younger metal fans to Sacred Reich. Collectively, these events can serve as a catalyst for an enduring rebirth. One can only hope that Sacred Reich becomes a fixture of the contemporary metal landscape.
