There's a lot of pressure involved with being the rulers of the underworld, and nobody knows it better than
Black Sabbath
in 2013. Inarguable legends and at least partially responsible for creating heavy metal as we know it with their classic '70s material,
Sabbath
have spawned generations of followers and become one of the final words of the genre. There have been countless reunions and mutations of the band following vocalist
Ozzy Osbourne
's first dismissal in 1978, and even
13
doesn't quite deliver on fans' decades-long desires to see all four original members back together. Original drummer
Bill Ward
sits the record out due to disputes over the recording contract, with
Audioslave
/
Rage Against the Machine
drummer
Brad Wilk
providing beats in his stead. Despite this considerable absence,
comes closest to recapturing the desperate feel, plodding grooves, and unparalleled metal magic of those first classic
records than anything the members of the band have done since, in any permutation or combination. Kicking off with two sludgy tracks, each over eight-minutes long, the
Rick Rubin
-produced
takes a few moments to get its legs. Once warmed up, however, each element falls somewhere between studied re-creation of the past and logical progression, be it
Tony Iommi
's spooky guitar tone,
Ozzy
's nasal howl, or the panic attack dynamics and sense of nuclear dread that made the moods of
Sabotage
and
Vol. 4
so thick. Sharp tempo changes and caustic drop-tuned blues metal riffs make up tracks like "God Is Dead?" and the doomy "Age of Reason." Many of the album's eight tracks stretch past the seven-minute mark, full of heavy compositional shifting. The mellower acoustic track "Zeitgeist" rewrites the spacy "Planet Caravan" from second album
Paranoid
, revisiting the same cosmic motif of that song, complete with
Iommi
's most
Django Reinhardt
-influenced soloing. The lyrics, all penned by bassist
Geezer Butler
, are focused on internal religious and mental conflicts, with final track "Dear Father" tackling living with memories of abuse. The album is heavier, more precise, and more interesting than the past several decades of output from the bandmembers would suggest. Without fully replicating the energy of their untouchable first six records,
have risen to the unique challenge of not becoming self-caricatures, turning in something new while still reactivating the strengths of their younger days. The backwards-looking tendencies of
are something the band is fully aware of, as signified by the reappearance of rain and church bells sound effects on the last track, the same sounds that opened their first album in 1970. The influence of early
has become so omnipresent that it's come back to influence its very creators four decades later, but the results are unexpectedly brilliant, apocalyptic, and essential for any die-hard metal fan. ~ Fred Thomas