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STRYPER
God Damn Evil

Frontiers (2018)
Rating: 8.5/10

Hard to believe that back in the 80s the yellow and black metal attack of Stryper was often criticised for its image, music and beliefs by young and naïve heavy metal fans, and yet here we are applauding a band that has outlived trends and continued to release good and heavy albums.

Emerging three years after 2015’s Fallen, the American band’s latest effort, God Damn Evil, is one of the best albums of the year so far; an opus that offers so many surprises and at times some truly heavyweight numbers.

Opener ‘Take It To the Cross’ sets the bar high with its juddering chorus which boasts thrash elements… yes, I said “thrash”. The charging, hammering riffs and Gothic overtones make sure that Stryper’s message and impact is immediate; Michael Sweet’s vocals as crisp and powerful as ever as Robert Sweet’s drums boom with a menace.

And that cocksure, swaggering weight continues with the equally metallic chug of ‘Sorry’; a powerhouse of a track bolstered by nifty bass dribbles, courtesy of stand-in bassist John O’Boyle, and of course Oz Fox’s lethal leads. This is Stryper in menacing mood, creating steely structures with brooding backbones and choruses to die for.

‘Lost’ brings a more technical approach with its staggered rhythms and piercing vocal wails, and is followed by the fizzing title track with scorching, AC/DC-esque introduction with that simple guitar tone and rumbling bass as Michael Sweet bellows “Let the games begin”. Boy does it feel as if the guys had fun making this record as we’re smothered by another contagious chorus.

And there’s no sign of the steel barrage residing as ‘You Don’t Even Know Me’ comes with a steady plod and lower vocal tone; Sweet’s vocal a sneering narration before the fist-pumping chorus comes jarring in on jagged riffage.

I almost expect ‘The Valley’ to lighten the load, but no. There’s that catchy, weighty trudge as Stryper take on a power metal surge to nod and traipse with menace, and again we’re led into a glistening beacon of a chorus which leaves me shaking my head at the wonder of it all before resorting back to bangin’ my cranium to that sturdy slog.

‘Sea of Thieves’ continues at pace; a stony drum nod threads its way through a sizzling guitar melody before the massive chug of ‘Beautiful’ boldly strides forth. Here the chorus is wonderfully sweeping, hooking itself deep into the psyche as Stryper continue to shine a light over the darker realms of society, willingly happy to commentate on the evil ways of man.

It’s ‘Can’t Live Without Your Love’ which lowers the tempo; this one is a slow-builder that rises to a majestic chorus brimming with an AOR poppiness. However, that lighter mood soon changes again as the fabulous hike of ‘Own Up’ comes fizzing in with attitude, before the album is rounded off by the drum-led scorcher ‘The Devil Doesn’t Live Here’. The latter is a blazing, galloping rocker hinting at an 80s style of belligerence as Oz Fox’s guitar surges with attitude, while the straight forward chorus pummels the message of enlightenment as Michael Sweet’s vocals take on a darker, angry edge.

What a way to finish a record that throughout expresses so much heaviness and soul; Stryper swatting away what is left of any cynics and critics by issuing a fearsome heavy metal record so God damn good.

Neil Arnold

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