Infernal Overdrive

Revivals were the in thing in during the 2000s, so it naturally follows that revivals of revivals would be a matter of course for the 2010s. In keeping with this, it stands to reason that they last major revival of the previous decade, namely what some would dub the "New Wave Of Traditional Heavy Metal" would get another go at things at around this time, and what more appropriate of a way to kick such an eventuality off than not only a new White Wizzard album, but also one featuring most of the original lineup yet again. With the passage of about a decade since this outfit's official inception, they've made a name for themselves as one of the more flamboyant standouts of the retro-heavy metal revival, and also as one of the more musically credible members of said movement in spite of their over the top (pun intended) antics. With respect to their previous efforts, Infernal Overdrive can be best understood as this band coming full circle, learning from previous slip-ups both on and off the stage and forging a sound that incorporates the fascination with the music of 80s Iron Maiden and Judas Priest along with the more recent infusion of bassist/guitarist Jon Leon's interest in 70s progressive rock.

Though very much an album centered in heavy metal's early years, there is a sort of modernism inherent in how this album approaches things that differs a bit from their better known earlier albums. Much of it centers around the heavier and more punchy production job at play here, which doesn't quite veer off into overly distorted modernity, but is far more bombastic than anything that could have been produced prior to the late 1990s. Likewise, the exaggerated vocal performance out of Wyatt "Screaming Demon" Anderson carries many similarities to vintage Dickinson and Halford, but the overall balance of grit and grandeur has a bit more of a late 80s feel that would be more fitting in the context of Priest's Painkiller and Riot's Thundersteel. Interestingly enough, the opening cruiser and title song "Infernal Overdrive" listens fairly close to the title song of the former album, in no small part due to Anderson all but quoting Halford's verse melodic with a similarly witch-like cackle. Coupled with a massive drum sound, raunchy bass assault that mirrors the tone and technique of Steve Harris and a generally meatier guitar tone that sounds like Powerslave if it had been recorded 30 years later, this is an album that slays retro-dragons with a modern sword.

In contrast to the mostly 80s metal with a slight helping of 70s prog rock that typified the last couple albums, this album has an almost equal amount of the latter influence, not to mention a far more ambitious approach overall. Long-winded numbers like "Chasing Dragons" and "Critical Mass" are definitely more metallic than not, with the former listening like a slightly faster and longer version of Maiden's "Where Eagles Dare" with about twice as many twists and turns, while the latter finds a frenzy of speed and riffs fit for Judas Priest if they had Steve Harris on bass instead of Ian Hill, not to mention a whole mess of melodic riffs out of the Powerslave playbook with a Helloween-like technical flair. Along for the ride is the even longer nod to Iron Maiden "Voyage Of The Wold Raiders", which listens like a direct homage to "Hallowed Be Thy Name" reinterpreted in a USPM manner not all that far from how Crimson Glory might cover said song, and even comes with a not-so-subtle quotation of the intro of "To Tame A Land" thrown right into the middle of things like an inside joke. Not content with a mere three epic songs that mirror high points of Maiden's golden era, the album's closer "The Illusion's Tears" listens like a mishmash of influences from Rainbow, Killers era Maiden and occasionally early Manowar and somehow manages to sound too short despite clocking in at over 11 minutes.

If there is one complaint that could be thrown White Wizzard's way on this album, it is that they threw two albums worth of music into a single LP and came out with something that listens more like a grower despite having the execution of a shower of the most shamelessly exhibitionist of kinds. All the same, it is a far more intricate and involved version of this band that could be likened to a power metal band trying to box themselves into a pre-power metal mindset and occasionally veering out of it unintentionally. This is no more apparent than in the wild lead guitar work that filters in and out of most of these songs, listening closer to a hybrid of Brian May and Yngwie Malmsteen than a typical Murray vs. Smith or Tipton vs. Downing display, though a few of the solo sections occasionally reminisce of the wild duels of the latter on Ram It Down and Painkiller. All of this considered, to the long time fan of this outfit this album may come off as inferior to previous endeavors due to the sizable departure in how the songwriting works out here, but to many who might have dismissed this band as being a comical and derivative throwback, this may prove to be best thing they've put out. Regardless of one's preferences, this is an album that leaves an impression, right at the base of your skull.