Tarantula

Though billed by some metal historians as one of the very first power metal bands, Tarantula is mostly known for being Portuguese, liking big spiders, and being unable to use Photoshop. Perhaps you've seen their debut, self-titled album on a Worst Album Art forum? But beyond the goofy and strangely-promising image of the band striking a pose from within the thrall of an ancient awakened spider golem... there's nothing special. It does however serve as an interesting history lesson, and with enough coffee on hand, you may even be able to stay awake through it.

Tarantula begins its foray into power metal with their shoelaces tied together, falling flat on their face with what is undoubtedly the worst track on the album. 'Battle of Victory' begins - and I'm not kidding - with MIDI instruments that I'm convinced didn't even sound good at the time. A choir, an orchestra sting, and worst of all, a supposed line of heralding trumpets introduce the album in the same way a Commodore Amiga introduces Kings Quest IV. To me, it stops just short of crossing the 'so bad it's good' threshold and ends up being painful. Major-scale guitar riffs take over, in addition to corny-sounding harmonized vocals. If you didn't quite hear them the first time, be careful - they only repeat the chorus "It's the battle of the victory" about twenty-seven more times.

Not all is gloom and doom, however. Present even in this riotously terrible opener is the talent of guitarists João Wolf and Paulo Barros, as well as bassist José Baltazar. As engaging and impressive Wolf and Barros' dual guitar solos and complimentary riffs are, I think the most praise of all should be given to Baltazar. What would no doubt be considered too loud in the mixing by some listeners, I find Baltazar's bass crisp and definitive, usually playing a completely unique melody to the lead guitar and adding a vital component to every track. Additionally, 'Adamastor (Cape of Storms)' features one of the many fine bass solos that essentially define this album.

But that's to say nothing of the funky, cosmopolitan riffs and licks Barros and Wolf take turns delivering. Boasting an attractive, Arabian-sounding influence during 'Fear' and 'Prophets of Christendom', they manage to sound bizarrely similar to what Megadeth was delivering around this time. But unfortunately Barros' vocals don't quite compare to Mustaine. Like, at all. As this is essentially archaic power metal with 'computer enhancement' defined as 80's Yamaha MIDIs, Barros sounds in need of... something, and a lot of it. In order to sound even somewhat engaging, he requires an almost constant harmony of vocals with his brother Luís Barros. While the act of overusing vocal harmonies to the point of absurdity is commonplace in power metal today, it's still just as off-putting in Tarantula.

So. Good guitar work, outstanding bass, and 'Sons of the Flame' is pretty sweet. Besides that, I consider this a mediocre LP way too rare and expensive to bother seeking out, but their second attempt Kingdom of Lusitania on the other hand...

Standout tracks:
Adamastor (Cape of Storms), Sons of the Flame

Related (better) listening:
Heavens Gate - In Control
Universe - Universe