The Devils Cut

Now that we’re clear of the whole “return to retro heavy metal” phase that people got so grumpy and excited about, White Wizzard are left to stand on their own merits, without the huge amount of hype around them that was attributable to their position in that movement. Looking at the Metal Archives gives you a pretty accurate idea of public interest at different points in their career, with (as I write) 12 reviews for the ‘Over the Top’ debut and a measly 3 each for the follow up ‘Flying Tigers’ and this album, ‘The Devil’s Cut’. Those who bitched about the artwork for the previous efforts aren’t going to find much difference here, nor was the modus operandi changed with the introduction of half a new line-up.

Jon Leon is still in charge of everything, the vocals are still shrill and the lyrics taste distinctly cheddary, while the style is still rooted in the shameless throwback worship of Iron Maiden, Running Wild, and the other 80s metal bands that laid the template for this kind of free-flowing, melodic heavy metal. For some people, that’s enough to break out the celebration, but the real question mark regards the quality of this kind of endeavour, since that is what will either confirm or deny White Wizzard’s eventual success or failure. For me, there is ample evidence that the band has the right spirit for this kind of music, though there are also moments when I start to wonder if there could have been a greater degree of thought put into the compositions.

Starting with the good, Joseph Michael has a very pleasing voice that contains power to get by on the simpler, mid-paced parts, plus a decent range that allows him to compete with the squealing guitars in the histrionic ‘Lightning in My Hands’. He provides plenty of excitement even with a few corny lyrics, many of which are about “the power of music” (ooh). If he had some better vocal lines to make use of, his contribution would be very important indeed, but there are a few uninspired melodies and plain sections that don’t really add to the overall appeal. For those searching for guitars, there should be plenty to maintain interest. Although the riffs don’t have the sprightliness of Iron Maiden (in fact, they sound more like 90s groove metal at times), there are melodies in almost every section, as well as two lead guitarists, who each have an outing in all the songs. I don’t discern much between their styles, though both are flashy and shred in appealing fashion, occasionally in an ode to classic speed metal, but usually more within the precincts of grander melodic material. Though understandably not the focus, the rhythm players have a fair run, especially the prominent bass line that marches through ‘Storm Chaser’.

Starting with ‘Storm Chaser’, there are several great anthems in here that just miss the essential tag by a few inches. That song has a curiously chunky riff that sounds ponderous at first, yet fits the pause in the chorus so well that you wouldn’t really mind the initial lack of impact. ‘Storm Chaser’ joins ‘Kings of the Highway’, ‘Lightning in My Hands’, and ‘The Devil’s Cut’ as having full-power choruses that should occupy your mind for a few weeks at a time, all of which possess a great surge of energy and optimism, leaving a big dumb smile on your face. It is worth noting that these four songs all clock in at under 5 minutes, while the longer numbers struggle with focus and structure, ultimately failing to maintain interest for their entire length. ‘Steal Your Mind’ especially is a lacklustre ballad that grows past 7 minutes: the verses on this one are just too empty and plain, a problem compounded by the fact that Michael’s vocal delivery is nothing special, merely an attempt to imitate huge-lunged frontmen like Dio, whom he can’t quite match. The closing ‘The Sun Also Rises’ is objectively a mistake at nearly 10 minutes, although there are enough interesting sections to justify the song’s inclusion, even if an edited version would have been advisable.

One problem that has been identified with White Wizzard in the past is that their songs don’t always have a destination in mind, and that dogs the longer numbers particularly, since they seem to be made of many parts rather than a unified whole. In some cases, the melodies and leads become excessive, appearing to fill time and transition between sections instead of actually being necessary in their own right. All this means that ‘The Devil’s Cut’ contains moments of magic that are sadly contrasted with some tedious enterprises, resulting in a patchy experience hinting at a greater potential. I strongly recommend ‘Lightning in My Hands’, ‘Storm Chaser’, and the title track, while those looking for an effective remedy for a gloomy day might also be advised to give this purple witch devil a spin.