Black Label Society - "Catacombs of the Black Vatican", 2014

2010’s "Order of the Black" featured unusually bombastic production and more aggressive material; it was a overall heavier record than the relatively more radio-friendly "Mafia" (2005) and "Shot to Hell" (2006). It would have been only natural for BLS to push the heaviness further on its new album, ominously titled "Catacombs of the Black Vatican," but instead, the band took a different approach.

Arriving four years after the previous release, during which the band put out a mildly interesting compilation of unreleased material ("The Song Remains Not the Same") and a very good live album titled "Unblackened," featuring mostly unplugged renditions of Zakk’s catalog, "Catacombs of the Black Vatican" does not live up to its menacing title and artwork, instead reverting to a more accessible hard/doom rock style. The album even exudes a 90s grunge/alternative rock feel, relying on murky, overdriven guitars that never quite enter full-on metal mode as on the previous record, favoring more traditional slow or mid-tempo rhythms and a style that blends 70s influences with some of the lighter Alice in Chains material. Zakk even seems to make a conscious effort to tone down his signature pinch harmonics, although that did not seem necessary. The vocals also improve on the usual formula, with melodies in the verses straight out of Ozzy's songbook paired with double-tracked, harmonized choruses in the style of Cantrell and Staley. Wylde delivers a solid performance, demonstrating good vocal control as he transitions smoothly from lower, huskier tones to a higher range.

Even the production takes a different road compared to the raucous "Order of the Black," offering a more balanced mix featuring more organic drums, thanks to new member Chad Szeliga, and more controlled guitar distortion. This creates a well-rounded sound that is easier on the ears while still remaining powerful. It's a far cry from the all-out heaviness of BLS's early days, but it serves as an interesting mid-career relaunch that likely aimed to present a more mature version of the band.

The album begins in a rather unassuming way, with the first couple of songs, including the single "My Dying Time," moving at a relaxed pace and not leaving much of an impression. Fortunately, it improves after that, even if the 11 tracks on the standard edition do not offer any major surprises, all sounding cohesive and similar in style and structure. The quality is consistent, although it is difficult to identify a new classic, as nothing truly stands out. A couple of songs managed to catch my attention, though, namely "Believe" and "I've Gone Away." The former is a Black Sabbath-inspired track with strong Ozzy-like vocal lines and catchy riffs, while the latter is built around a massive, chugging epic riff that explodes into a memorable refrain. It's simple, meat-and-potatoes material that sounds genuine and refreshingly unsophisticated, yet expertly crafted. 

The rest of the album follows a familiar Sabbath-esque path, alternating doomy, groovy single-string riffs ("Beyond the Down," "Empty Promises") with a few more uptempo tracks ("Heart of Darkness," "Damn the Flood"), often culminating in straightforward power chord choruses built around a harmonized vocal melody that seems tailor-made for American rock radio. Once again, Wylde includes three ballads—a couple on the folk side and one, "Shades of Gray," that curiously sounds like a 1950s/60s Elvis throwback. It's an oddity that should have been replaced with the stunning non-album track "Blind Man," a rugged, southern-tinged acoustic number included as a bonus in some special editions.

Unexpectedly, a downside of the record emerges in Wylde's guitar solos. While his six-string prowess is obviously indisputable, many of his leads here consist of super-fast runs that tend to overlook melody, resulting in unmemorable displays of virtuosity, especially when compared to those on older albums such as "Shot to Hell."

"Catacombs of the Black Vatican" is another mid-tier BLS record that could have benefited from more inspired songwriting, even though it still delivers some honest doom rock songs and a few moments that approach brilliance. Its more easy-listening sound may be too restrained for old-school BLS fans, who will struggle to find traces of the sludgy, uncompromising ferocity of the band's early days. It all sounds a bit too laid-back and polished, and in retrospect, it raises the doubt that Wylde was perhaps making another attempt to crack the Billboard rock chart. The songs flow well enough but ultimately don't leave much of an impression, making it an enjoyable yet unexceptional effort.

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