Customer Reviews

King of Pain

5 star:		(3)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Loudness is one band that has been with me for decades. Like Overkill, each CD seems to be better and better, rather than creating something lame just to knock out more product. Loudness is one of my favorite bands and always will be. King of Pain is heavy, krunchy, and unique. I wish that I could give them more than five stars here.

A new drummer, new album, another killer Loudness product. This is a heavier cd from Loudness and thank you very much boys. Lots of double bass from Masayuki Suzuki was an unexpected treat combined w/ Masa 's bass makes this a fantastic rhythm section. Akira shines as always and Minoru Niihara still has one the best sets of pipes in metal. There is an odd growl in many of the chorus'. I guess it's supposed to be an ''evil'' growl/roar. My personal fav on the cd is EMMA.

"Emma" sounds like old Loudness on steriods mixed w/ a little acid. The song has an amazing chorus. It sounds like vintage 80s hair metal but with heavy ,crunching guitar work. It's a great meatal album period. Loudness sounds better than ever.
If you're into 80s metal or just metal in general buy the cd. If you like/love Loudness buy the cd. You won't be let down.

A very mixed feeling. Although there are few songs that shine with catchy and melodic song, there's not much solos like the previous album. However, you can still enjoy the song without it ...surprisingly. On the other hand, Akira shows his magnificent skills with tons of creative riffs and tone control. To me this is far more impressive as this man surprises us til this day. The new great drummer, Ampan man reminds me of old school Judas Priest double-pedal techniques and shines throughout each songs. He is awesome! Also, bass tone is well adjusted as you can hear Yamashita's improvisations and grooveness. Minoru sings very well as always. Overall it's decent album because half of the songs are dark/heavy tuned(similar to Racing album). I will have to listen to it few more time.

Undoubtedly the darkest album by this great Japanese band, King of Pain introduces a new drummer and a new rage to a new generation of fans. This is NOT your Dad's Loudness, with radio-friendly 80s metal, but it is a fitting continuation to the band's legacy.

The album starts with a brooding and atmospheric, bass-heavy instrumental track, "Requiem", which could have been written by Black Sabbath or Judas Priest.

Next is the title cut, starting off with Suzuki's insane but solid drum riffing. Suzuki is a great drummer, in the vein of Scott Travis, and he fits in right away. The rest of the band matches his intensity and skill with their own, and it's refreshing to hear.

"Power of Death" is a solid rocker with an amazing solo that might have been written around 1988. The next cut, "Death Machine", borrows its chug-march rhythm from Rob Zombie, but like most of the other songs, has a curiously minimalist solo. "Doodlebug" (strange title for a great song) is a heavy rocker with a haunting pre-chorus, and Niihara's vocal ranges from a mid-range wail to a low growl. "Rule the World" is nearly pure J-punk, with high speed (except for a recurring chord structure that doesn't quite fit the song). "Straight Out of Our Soul" blends 80s Loudness rhythms with Pantera crunch and a solid bassline from Yamashita.

The most schizophrenic song on the CD is "Where Am I Going?"; most of Akira Takasaki's lead vocals are very smooth, fitting the dreamy style of this semi-ballad, but he sometimes goes into a ragged scream that's jarring. Curiously, although there is some great soloing here, it's very understated.

The vocals on "Emma" are great; ditto the moody, haunting vocals on "Naraka", which has a steady bass-and-drum line. "Doctor from Hell" echoes earlier songs like "Crazy Doctor" and "Like Hell", but would have been much better with a memorable solo based on the main riff. "Hell Fire" starts with a standard 80s-Loudness rhythm, but near the end it changes briefly to a breakneck-speed thrash then a gallop like Iron Maiden(!). "#666" has a solid rhythmic hook, but the verse lyrics are sometimes buried in the mix. The finale, "Never Comes" is the moodiest, saddest song obviously dedicated to Higuchi, who the band and their fans now call "Forever Our Hero".

The band has matured, learned better English (by adding outside writers for most of the lyrics), and produced one of their best albums. Now would be the best time for a new American recording deal.