![]() ![]() ![]() ![]() ![]() If War of Words showed Halford’s ability to make an unfamiliar style work for him, then A Small Deadly Space sees him at risk of losing himself to the experimentation.īut as bad as I’m making it all sound, the first half has some good tracks once you get used to the methods at play. The drums and vocals also come off rather restricted, the former rarely picking up beyond some showy patterns and the latter seemingly going out of their way to avoid catchy lines or acrobatics. The guitars and bass still sound as chunky as ever, but a combination of repetitive riffs and stilted rhythms leads to them feeling too rigid and not getting to do very much exciting beyond the occasional tripout. The pacing is much slower overall, the riffs are based on stop-start patterns with a noticeably dissonant edge, and the vocals put in a similar mix of abrasive lines lathered in effects.Īs intriguing as this setup is, the execution doesn’t show much consideration for the band’s strengths. Any signs of the debut’s thrash leanings are entirely phased out in favor of an abstract delivery more aligned with groups like Helmet, Godflesh, Fudge Tunnel, and even a smidge of early Korn. While this album is more or less an extension of its predecessor’s street metal sound on the surface, the way it goes about doing so makes for a much different listening experience. But while that effort has maintained a modest cult classic status over the years, there’s a reason why A Small Deadly Space has remained so overlooked in comparison. With 1993’s War of Words proving that he was more than capable of standing on his own two feet in a contemporary style, it only made sense for its followup to double down on those groove metal excursions. Fight’s second album seems rather forgotten about when it comes to Rob Halford’s projects outside of Judas Priest. ![]()
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