Ritual - Master's Hammer
- Master's Hammer
- Release date:
- January 01, 1991
- Osmose Productions
If it ain't broke, don't fix it
There is no doubt that Ritual is a far better plate than its predecessor, the Archangel. The dishes up on many of the previous plades deficiencies and end up actually with to be some of the best, Soulfly has released in recent years. We can discuss about the Max Cavaleras groove-formula gradually not to be a little too used. But then one can also ask himself whether the AC/DC and Cannibal Corpses formulas gradually not also to be a little to the worn side. The fact is: Soulfly has found form again and have pieced a quite excellent album, there are little errors and shortcomings here and there, before it really comes up to call, but they are clearly on the right path.
Not so much new from the front
Three years have passed since the according to the editors a little redundant slice, the Archangel, appeared. Now Soulfly and all our brazilian and jovial family man Max Cavalera ready with the plate number 11. Clean line-upmæssigt it has not happened in the wild. Former bassist Tony Campos has been replaced with Mike Leon, which normally turns its folds in The Absence. The replacement was done basically the same year as the Archangel appeared, then a novelty, it's not exactly. The big question is then, whether the Soulfly have used the three years to raise the level, or if they just add a plate to the catalogue.
Signaturretten is back
The album begins with the title track "Ritual" – a number from the moment it goes off, screams Max Cavalera. Away is a little bland five metal with a half-hearted attempt on the groove from the Archangel, and instead we get a lesson in how Max Cavalera screws "the groove" together.
It does not matter whether he does in Cavalera Conspiracy, Killer be Killed, or Soulfly, in all cases, he has managed to create a signaturlyd, though not always with equally good effect, if you look Soulflys prehistory through.
Some may think it is the same simple groove-recipe, Max has spent the last twenty years, being paddled around in. Which there also may be some merit in. But on the Ritual use Soulfly it exactly as it is intended, and it just works.
But otherwise it goes otherwise, over stock and stone on the disc's 10 tracks, whether it is together with Randy Blythe on "Dead Behind the Eyes", on the heavy and very dødsmetalliske "During the Rapture" that are being visited by Ross Dolan from Immolation, or on the fast Motörhead inspired "Feedback!". None of the songs fall in any way as being bad, or because they don't fit. They have all together a good tag in the groovede sound, Soulfly operate within. That is just the last number, "Soulfly XI", which is a bit of a jazzy world music number. But it is indeed a tradition that a Soulfly plate ends on the way.
Stammeelementerne, which was missing on the previous album, has also been a welcome rebirth – unfortunately not to the extent one could wish for. Albumåbner and the title track "Ritual" have them almost in abundance, and "Blood on the Streets" starts with a little indianerfløjte and ends with a game of stammedans. But otherwise, it is rather sparingly on the rest of the plate, which might well have spread them just a tad more out or added more.
>> Check the songs and lyrics here