Judas Priest – Invincible Shield (Epic Records)
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19 albums, worldwide recognition, true originators and survivors of every trend there has been. Judas Priest have done it all! The Birmingham formed heavy metal icons have been living and dying for heavy metal since the 70’s and on their 19th studio album they show no signs of stopping now.
Recorded with the studio line up of the Metal God Rob Halford still screaming with the power of a man a third of his age, Glen Tipton and Richie Faulkner on those glorious guitar harmonies, that are so potent and important to the history of heavy metal, Ian Hill’s bass forever the backbone of the Sentinel’s ever forward march and Scott Travis a percussive powerhouse born from the speed/shred scene, it’s all been captured by the skilful, legendary hands and ears of producer and Priest touring guitarist (after a little bit of silliness) Andy Sneap.
For a band to still be making records after all these years is one thing, but for them to be in decade and a bit long purple patch is another thing, it seems as if since Angel Of Retribution, Priest have ascended to their rightful place in the pantheon of British metal, their influence felt in every NWOTHM band that has come since.
They have backed it up with some brilliant records, be it the comeback of Angel Of Retribution, the conceptual Nostradamus, the first with Faulkner; Redeemer Of Souls or the explosive Firepower, Priest have leant on the nastier heavier sound they had on Painkiller to keep them sounding fresh and modern while retaining those Judas Priest trappings that most metalheads love.
I say that with some confidence as their influence is such that unlike say Maiden, Priest are beloved by thrashers, death metal maniacs, the blackest black metal fans, classic rockers and everyone in between. Whether it’s Halfords online presence and visibility for heavy metal and LGBTQ+ culture, their resilience to new music trends or just the fact that they’re one of the most ‘metal’ bands the UK has produced Priest probably have a bigger following now than they ever have. Something we’ll see first-hand on the upcoming tour to support this new 19th album Invincible Shield (we’ll be at a multitude of dates)
The album itself, well if you’ve heard the singles you’ll know that it’s packed with Priest firepower, coming out of the gates all guns blazing with Panic Attack, those Turbo-esque guitar synths getting us going before the track kicks in proper. Guitars in fire trading off the riffs as Halford snarls, putting in some screams where needed. It’s a proper chugger driven by the riff and Travis’ drumming, the heart is already racing and we’re on track one.
The Serpent And The King, is Halford in full falsetto, thrashy and rabid, Ian Hill setting a blistering pace but giving some groove on the chorus, Travis still playing as fast as possible, getting some double kick breaks before the solo sections. Faulkner said while the album was being recorded that Priest looked back to their more experimental 70’s (pre-British Steel) sound, to create a bit of prog on this record. There’s elements of this on the speed metal assault of the title track, this is Metal God territory but has a refrain similar to Sinner, another absolute banger and its three tracks in.
Recorded with the studio line up of the Metal God Rob Halford still screaming with the power of a man a third of his age, Glen Tipton and Richie Faulkner on those glorious guitar harmonies, that are so potent and important to the history of heavy metal, Ian Hill’s bass forever the backbone of the Sentinel’s ever forward march and Scott Travis a percussive powerhouse born from the speed/shred scene, it’s all been captured by the skilful, legendary hands and ears of producer and Priest touring guitarist (after a little bit of silliness) Andy Sneap.
For a band to still be making records after all these years is one thing, but for them to be in decade and a bit long purple patch is another thing, it seems as if since Angel Of Retribution, Priest have ascended to their rightful place in the pantheon of British metal, their influence felt in every NWOTHM band that has come since.
They have backed it up with some brilliant records, be it the comeback of Angel Of Retribution, the conceptual Nostradamus, the first with Faulkner; Redeemer Of Souls or the explosive Firepower, Priest have leant on the nastier heavier sound they had on Painkiller to keep them sounding fresh and modern while retaining those Judas Priest trappings that most metalheads love.
I say that with some confidence as their influence is such that unlike say Maiden, Priest are beloved by thrashers, death metal maniacs, the blackest black metal fans, classic rockers and everyone in between. Whether it’s Halfords online presence and visibility for heavy metal and LGBTQ+ culture, their resilience to new music trends or just the fact that they’re one of the most ‘metal’ bands the UK has produced Priest probably have a bigger following now than they ever have. Something we’ll see first-hand on the upcoming tour to support this new 19th album Invincible Shield (we’ll be at a multitude of dates)
The album itself, well if you’ve heard the singles you’ll know that it’s packed with Priest firepower, coming out of the gates all guns blazing with Panic Attack, those Turbo-esque guitar synths getting us going before the track kicks in proper. Guitars in fire trading off the riffs as Halford snarls, putting in some screams where needed. It’s a proper chugger driven by the riff and Travis’ drumming, the heart is already racing and we’re on track one.
The Serpent And The King, is Halford in full falsetto, thrashy and rabid, Ian Hill setting a blistering pace but giving some groove on the chorus, Travis still playing as fast as possible, getting some double kick breaks before the solo sections. Faulkner said while the album was being recorded that Priest looked back to their more experimental 70’s (pre-British Steel) sound, to create a bit of prog on this record. There’s elements of this on the speed metal assault of the title track, this is Metal God territory but has a refrain similar to Sinner, another absolute banger and its three tracks in.
None of the slow burning that Maiden rely on these days, Priest are about pace, hook ‘em fast, hook ‘em strong, get ‘em head banging from moment one. Speaking of head banging, if it doesn’t to the stomp of Devil In Disguise you can’t like metal anymore I’m afraid (that’s the rules), Gates Of Hell settles things a little with a mid-pace plod, it’s not weak but after a so much magic, it lets you at least breathe. Crown Of Horns sits in the middle of the record as a muscular ballad as As God Is My Witness returns to fiery metallic form.
These two tracks help you realise the duality of Judas Priest and how impressive Rob Halford is as a vocalist, he can carry a slow ballad but then go full pelt on the racier tracks, the latter also adding a bit of a symphonic element. The guitar playing is brilliant, jumping from rock metal and thrash, the harmonies always intact. The melodic intro of Trial By Fire comes from the Priest of the 70’s as Faulkner discussed, historical imagery put with classic proto-metal riffs while Escape From Reality brings some psych and some Sabbath, written by Tipton he’s leaning on his influences here.
As we get towards the last few numbers, the quality doesn’t dip, the variation though increases, showing that despite they now have this sense of being a full bore metal band they can still rock like they did pre NWOBHM. More screaming metal comes on Sons Of Thunder the penultimate cut on the normal edition, it’s 3 minute shot of adrenaline that leads into the meaty morsel that is the riff swinging closer Giants In The Sky, a track that is strong enough to make you feel full but leave you wanting more.
These two tracks help you realise the duality of Judas Priest and how impressive Rob Halford is as a vocalist, he can carry a slow ballad but then go full pelt on the racier tracks, the latter also adding a bit of a symphonic element. The guitar playing is brilliant, jumping from rock metal and thrash, the harmonies always intact. The melodic intro of Trial By Fire comes from the Priest of the 70’s as Faulkner discussed, historical imagery put with classic proto-metal riffs while Escape From Reality brings some psych and some Sabbath, written by Tipton he’s leaning on his influences here.
As we get towards the last few numbers, the quality doesn’t dip, the variation though increases, showing that despite they now have this sense of being a full bore metal band they can still rock like they did pre NWOBHM. More screaming metal comes on Sons Of Thunder the penultimate cut on the normal edition, it’s 3 minute shot of adrenaline that leads into the meaty morsel that is the riff swinging closer Giants In The Sky, a track that is strong enough to make you feel full but leave you wanting more.
Now there are bonus tracks on the deluxe edition, the classic rocking of Fight Of Your Life, the direct Vicious Circle and The Lodger which is a darkly cinematic song written by Bob Halligan Jr. who is a long-time collaborator with the band. Without these three songs though Invincible Shield is worthy of any Priest or metal fans’ time. They’ve been doing this since 1969 and seem very much Hell Bent For Leather, how long they’ll keep going is anyone’s guess but if they keep releasing material as good as Invincible Shield we’re all in for a great ride until the end. 10/10