Review | Whitecross – Fear No Evil

Dark Star Records

In the roaring 80s, Christian rock and metal sprouted a wide array of new talented acts, led by the rise of Stryper. One of the most consistent factors must have been Whitecross. The band around guitarist Rex Carroll and vocalist Scott Wenzel, releasing acclaimed albums landing themselves worldwide tours across the globe. With the founding member Wenzel’s departure Carroll’s band balanced in uncertainty, but now strike back with the intense 80s revival ‘Fear No Evil’.

MUSICAL DIVERSITY

Replacing benchmark vocalist Scott Wenzel with David Roberts, ‘Fear no Evil’ increases wonderful musical diversity and shakes off the long serving Ratt comparison. Roberts is gifted a more powerful and soulful set of pipes, injecting a bluesier and more powerful tone into Whitecross benchmark sound. Shooting into action, album opener ,,The Way We Rock” blends classic eighties rock and metal with their hair metal prowess. As always, Rexx’ guitar exercises are astounding, spitting remarkable riffs and hooks forward, his solos extraordinary. The guitar wizard however now is equaled by Roberts’ powerful vocals, making their music breathe flames.

INTENSIFIED MUSICAL WEIGHT

High in gear, the song progresses with memorable hooks, over a powerful groove. Benny Ramos’ loud bass and Michael Feighan’s powerful drums, make a wonderful throwback classic. Powerful, packing sincere stride, ,,29.000” is another key example of the band’s intensified musical weight. Hard on groove and guitar, the song packs another insane solo, easily frustrating players across the globe. His impeccable shredhead fretboard magnificence is matched by glorious melodic tone and melody with welling scenic accolades.

The always bluesy subnotes intensified, the new Whitecross album wells with fierce bluesy rock and metal hammers. Memorable is the wonderful ,,Lion of Judah” with its insane solo and tempo shifts, and the raspy powerful vocals full of moan and stride. Loud and heavy riffs and wonderful short licks and themes brought to the front by Carroll’s while toning back to lush melodic momentum. Keyboards in the back, adding to the song’s luster, this track could have been a ‘1987’ stadium rouser. [pun intended]

COWBELL

Strutting a different parading pace, the Dokken-tinged ,,Man in the Mirror” sees the band fire on all engines, with Roberts belting out his rawest register. Great classic hardrock, with metal edged into its bodywork, the song towers with dominant drums and fretboard acrobatics. Awesome!

Cowbell and double kicks unload extraordinary momentum kicking ,,Saints of Hollywood” into action. Halting after its bridge, the song brings different tone and momentum forward, with close harmony vocals in Latin. Blossoming back into its regular form, the melodies intensify, blending 80s and 90s bluesy rock gravitas with AOR melodics.

VOCAL ACROBATICS

This melodic velocity is maintained on the bluesy road rocker ,,Vendetta”, packing highly memorable licks and towering slick chorus amid wonderful vocal acrobatics.

Toning down, Whitecross brings a wonderful acoustic environment forward with ,,Blind Man”. Acoustic campfire mood with subtle low repetitive guitars and piercing themed pitches atop (mandolin) with Dave executing with wide variety. Roaring in country / Americana register, he switches highs and lows executing a great vocal performance. Channeling the right tone, it breaks well into the title track, previously released as a three-track EP, with reminiscent tone. The opening reminds me of Malmsteen’s ,,Dreamin” in tone and acoustics, before droning in with heavy groove. The song unveils the gained momentum with Roberts at the helm. His vocals heavy and roaring with fierce persona, he presses on rich sonic blues tones and soulful swagger. Droning and growling bass and rocking drum groove underneath Carroll’s wonderful riff carnage, inflate the song’s amazing prowess.

ODDITY

Going mega-scenic, the cinematic appeal of ,,Wishing Well” is astounding upon entrance. Guitar and close harmony vocal melodies aligned, the music revives a Beatles’ reminiscent interplay, without straying from its heavy bluesy rock stride. The song’s fabric is exquisite, an unexpected renewal in the Whitecross discography. Working towards its ethereal linger, the band makes the album die out with the acoustic ,,Further On”, that links perfectly with the previous track. Heavy on the emotions, the song is deeply rooted in the 60s of rock music, again bordering with Beatles in execution.

The only oddity on the album is ,,Jackhammer”. The short instrumental solo-track displaying Carroll’s impressive skills and technique, stacking arpeggios and piercing themes. Intricately harnessing prowess, the song bridges two themes from its lyrical concept.

These themes are woven into the rich fabric of the album’s message. Though Christian themed, this is not disposing of as an offset, but rather thickens the discharge of the record without the preach. Too much to enjoy, and in the light of present tidings, a welcome approach and view.

WHITECROSS – CONCLUSION

To me, Whitecross seems more refined than ever before, bringing forward their best effort to date. The variety is tremendous, while musical execution is simply astounding. Powerhouse vocals find equals in the heavy grooves and Rexx Carroll’s outstanding guitar work. Shrugging raw riffs and gigantic hooks, wonderful melodies and licks, all blend with jaw dropping technique and intensity. Delivered in fine feel with the songs’ push and velocity, he makes the songs whirl with 80s grandeur.

Their best album to date and one of the best melodic rock albums of this year!

Release date: 22 March 2024