| Musical Style: Heavy Metal | Produced By: Dino & John Elefante |
| Record Label: Enigma / Retroactive | Country Of Origin: USA |
| Year Released: 1989 / 2020 | Artist Website: Barren Cross |
| Tracks: 12 | Rating: 80% |
| Running Time: 53:58 |
If you want a straightforward heavy metal album with a bit of diversity, third Barren Cross full-length State Of Control from 1989 should absolutely be on your radar. The group’s second release on Enigma Records, in follow up to its highly regarded 1988 sophomore effort Atomic Arena, State Of Control carries over the momentum of Barren Cross maintaining the same lineup since its mid-eighties inception, noting 1986 Star Song debut Rock For The King. Fast-fingered guitarist Ray Parris remains in prime form, as does the dominant rhythm section of all world bassist Jim LaVerde and powerhouse drummer Steve Whitaker. When further factoring Dickinson influenced vocalist Mike Lee, whom helps invite the Barren Cross comparison to Iron Maiden, the picture is complete.
Point being there is a reason n(i.e.: talent) Barren Cross was the third Christian metal band of the era to sign with a mainstream label, referencing Enigma cohorts Stryper and Guardian. Hence, the manner in which Atomic Arena was such a groundbreaking release with its traditional metal basis but allowing room for styles diverse as melodic metal, speed metal to thrash and even progressive metal. State Of Control upholds a similar distinct focus but to the greater extent in that when placed alongside, it is not only more commercial (even if to a fault in places) but also imbued with added progressive elements (to Barren Cross’ credit and this reviewers delight) while upholding a similar speed metal to thrash inclining.
Trivia: The Enigma CD version to State Of Control comes with the bonus track “Escape In The Night”, while the Benson CD release for the Christian market features ballad “Your Love Gives” as a bonus track. The Benson cassette also does not include the song “Two Thousand Years”.
Good news is that the spring of 2020 Retroactive Records re-issue to State Of Control comprises all three! It in addition has been re-mastered (courtesy of Rob Colwell of Bombworks Sound) and comes with a professionally detailed mini booklet incorporating vintage band photos, a montage of concert flyers and scanned magazine covers and lyrics in an easy to read front (attributing to Scott Waters of No Life Til Metal Graphics).
In terms of production, the Enigma version sounds fine for its era, but the Retroactive release takes things to the next level. Yes, the Colwell re-mastering increases volume levels to modern standards but also delivers the cleaner sound with greater low-end presence and guitars providing for added edge and bite. Some of the over polish to the original ends up factored out in the process.
Albums supreme title track gets things going as a four-minute mid-paced rumble. “State Of Control” powers out of the gate to guitars impressing with their forthright demeanor - even more so than on Atomic Arena (an album with solid production in its own right) - but ultimately defines for its catchy hooks despite the burly scene. Lone complaint, and this is not limited to just one track, is how refrain features some of the biggest backing vocals ever, almost to the point if distraction. Alcoholism is the lyrical focus:
It's a world that won't let you feel
You grow up very fast in sorrow
The drinking damage a parent provokes
Can ruin a child's tomorrow
There's no support they don't care at all
You're lonely cause you feel abandoned
But there's a way
To heal the pain
With God again and again
Jumping ahead in the track listing, the same applies with “Hard Lies”, a very good melodic hard rocker trending towards an up-tempo commercial direction as opposed to bare bones metal. Whereas that is by no means a bad thing, Barren Cross does have an inclining for commercial material noting several tracks from Atomic Arena, larger than life backing vocals again potentially hold things back. That said, due to musical direction, “Hard Lies” finds them fitting somewhat better.
Where I am forced to draw the line, however, is with what I consider albums lone skip button in ballad “Cryin’ Over You”. Outside of how in my opinion ballads do not do the high-energy Barren Cross sound justice, the song revels in doses of gloss and polish to extend outside the realm of this reviewers reasonable tolerance. Backing vocals are again off the charts. Not to be entirely negative, but a nice guitar solo from Parris.
Albums remaining material? Classic Barren Cross!
It begins with second track “Out Of Time”, a classic up-tempo melodic metal outburst inherent to tireless rhythms alongside albums most draw you in at once chorus (in similar vein as Atomic Arena cut “Imaginary Music). Guitars crunch heavier than musical direction might indicate, while backing vocals temper to more tolerable levels. “Out Of Time”, beginning to a radio broadcast taken from the prophecy movie series Thief In The Night announced how millions of people ‘have just disappeared’, deals with the second coming:
He's comin' back
It's a matter of fact
But we don't know when
He's comin' again
We tried to show you Gods love
But you said I don't need
Don't wait
Like a thief in the night
You'd better turn on your light
He might come back tonight
“A Face In The Dark” is a better indicator of the Barren Cross straight on metal sound. The song jump starts at once, attaining a swarthy vibe in line with its title as LaVerde’s leviathan bass holds sway over the low end and Lee sets an equal tone with his at times snarling and others charismatic vocal presence. Just enough hooks to hold you attention but not enough to cross the commercial threshold either.
“The Stage Of Intensity” is not so much this reviewer’s choice track or even Barren Cross favorite but rather rates among my top songs of all time. It proves a six and a half minute progressive metal masterpiece, interweaving its span between classical guitars (atmospheric in terms of the wafting demeanor) and those with a decided thrash basis (unyielding in implacable form). Multiple instrumental excursions build upon the technical acumen to hold sway. Song is not entirely disquiet, as quite the resolved melody separates from the churning scene.
Back to straight on metal with slugger “Inner War”. The song proves an upbeat bludgeoner, perseverant in terms of the fluctuating bass line to command its length but conspicuous in light of albums best produced crisp rhythm guitar sound. Song almost takes an extreme tone halfway in as vocals lower in register with an almost extreme feel. Spiritual warfare is the subject discussed:
I'm gonna scream I'm gonna shout
I'm the one that wins without a doubt
The victories mine in this inner war
And I won't be a slave to the flesh no more
I'm on my knees asking right from wrong
I look to the God who makes me strong
I don't live in fear of what I do
I got a spirit of fire that knows the rules
“Love At Full Volume” is the State Of Control take on the speed metal genre, noting other fast paced Barren Cross cuts in
“Believe” (Rock For The King) and “Cultic Regimes” (Atomic Arena). Abbreviated at just two and a half minutes, it rockets out of the gate to unassailable guitar riffs as Parris leads the way with another nimble guitar run and chorus punches with non-stop hooks. Short but goods is the feel at hand.
“Bigotry Man (Who Are You)” contrasts with its thumping mid-paced heading. With guitars echoing of the doom-like the song revels in weighty resonance, low-end literally tramples and slugs, and catchy rhythms to perfectly complement, boding refrain shambles to ominous ‘who are you’ backing vocals. Lead guitar is bluesy throughout. As its title implies, songs lyrics revolve around racism:
The racist rambles on
To tell what good he's done
His pride and arrogance
Has made him smaller
And so the bigot falls
Hypocrisy’s black walls
Cave in on his unworthy head
Men who are not like you are of lower form
Men who don't look like you should of not been born
The selfish man that hates knows not what is love
Eventually he'll live all the things he's said and done
Seven minute “Two Thousand Years” represents albums second progressive epic. It launches into a brisk bass driven riff to start, galloping ahead to behemoth guitars to touch upon the thrash like with accent on single-minded power but not to the point of overbearing, while maneuvering between time signatures found in manifold instrumental sections. Impetus culminates over the second half for a tremulous refrain repeating songs title in conclusive fashion. Subject matter is self-explanatory:
Two thousand years ago there came a man
A man who was hated and loved, worshiped and killed
But what was this man all about and what did he do?
What made him different and why did his name live on too?
For me to live is Christ, to die is gain
There's no other name by which I’m saved
I've got the power, it's in my sights
Because with him I’m not afraid to die
Of the bonus tracks, “Your Love Gives” is a staunch hard rocker with a deft hook and mountainous low end. This one brings albums strongest sense of groove. “Your Love Gives” impresses as a well-done ballad, compelled by piano, orchestration, moving vocal performance and NO backing vocals. Perhaps it is due to the latter, but it is the only Barren Cross ballad I like.
State Of Control vs. Atomic Arena? It can be difficult separating the two, although I trend towards the latter (noting the 85% Angelic Warlord review) - keeping mind both are essential albums - from including many of Barren Cross’ better songs. That said, State Of Control is no slouch due to also featuring its share of great material (“Out Of Time”, “The Stage Of Intensity” & “Two Thousand Years”) and in my opinion better production of the two. In other words, you cannot go wrong either way, which is the reason I recommend picking up the spring of 2020 Retroactive re-issue of not only State Of Control but Atomic Arena as well.
Review by Andrew Rockwell
Track Listing: “State Of Control” (3:52), “Out Of Time” (4:09), “Cryin’ Over You” (4:53), “A Face In The Dark” (3:55), “The Stage Of Intensity” (6:36), “Hard Lies” (4:18), “Inner War” (4:09), “Love At Full Volume” (2:28), “Bigotry Man (Who Are You)” (4:42), “Two Thousand Years” (7:09), “Your Love Gives” (3:55), “Escape In The Night” (3:55)
Musicians
Mike Lee - Lead Vocals & Acoustic Guitar
Ray Parris - Guitars
Jim LaVerde - Bass & Synthesizer Pedals
Steve Whitaker - Drums
