Monsters of rock (literally), Lordi
have returned with another ghoulish undertaking with Babez for Breakfast
. Said album expands on the direction they pursued on their 2008 effort Deadache
. The masked hard rockers have not forgotten their patented horror film theatrics and 1980s metal dynamics, but as seen on Deadache
, they continue to explore their melodic side. For the first time, Lordi
brought in a string orchestra and a gospel choir. It must be a gospel of the damned.
Acclaimed producer and film score maker, Jeremy Rubolino arranged the strings for the orchestra on “Call off the Wedding.” Ex-Kiss guitarist Bruce Kulick, who is no stranger to Rubolino from Kulick’s BK3 album, rejoins Rubolino to play a solo on this track. Mark Slaughter, front man of radio hard rockers Slaughter, completes the trinity of guests by providing vocals on “Granny’s Gone Crazy.” Besides adding name recognition, these artists do little to enhance Babez for Breakfast
. They are the perfect fit, however, for the band’s heavy-metal-heyday style.
’s raspy throat recalls the voice of power metal heroes Grave Digger
, and Lordi
’s music keeps the flame ignited by artists such as Ozzy Osbourne
, Alice Cooper
. The title track’s guitar work moves in step with Germany’s best power metal bands, while “This is Heavy Metal” animates itself by a sinister
riff, ala Danzig
’s “Snakes of Christ.” “ZombieRawkMachine” brings more heavy metal thunder, complete with “yeah, yeah” choirs. Each of the tracks feature traditional, sing along chorus sections such as “Give Your Life to Rock and Roll” that present memorable hooks guaranteed to get a rockin’ crowd response.
Even with these radio-friendly hooks, the group’s creepy keys parallel the macabre aspect of their seen in the visual aspect of the band. The organs on “Devil’s Lullaby” and “SCG5: It’s a Boy” would work as a film score for a remake of Rosemary’s Baby
. “I Am Bigger Than You” shows the group working an industrial metal angle that would move the booties of KMFDM fans. As stated above, the group incorporates more melody than prior efforts. The brief acoustic interlude “Amen’s Lament to Ra” counters the album’s light countenance with a somber mood. The melodramatic string orchestra and choir on “Call off the Wedding” has hair metal ballad sensibilities.
Much like raunchy humorists Gwar
, who Lordi
undoubtedly finds constant comparison due to their stage get up, Babez for Breakfast
should have greater appeal on a large stage. The album does not have the 3D visual aspect of the band’s costumes and stage tricks. The arena rock drums, chorus and guitar rhythms definitely seem geared towards fans who appreciate metal before all the categories—a time when playing in a metal band meant putting on a performance grander than four hair-twirling dudes decked out in blue jeans and sneakers. At times, Lordi
sounds cliché and outdated, but based on the response Motley Crue still commands, the modern metal fan still has an appetite for Babez for Breakfast