Astonishingly, it’s been 22 years since Danzig released their first, Rick Rubin-produced self-titled album through Def American Recordings. The band at this point is basically frontman Glenn Danzig and whoever he gets to play with him, but on the latest Danzig outing, Deth Red Sabaoth (The End Records/Evilive), we see some familiar faces from past tours. Type O Negative drummer Johnny Kelly is present and accounted for, as is Prong’s Tommy Victor on guitar. Danzig himself handled bass in addition to his trademark animalistic howling vocals, without which, frankly, this just wouldn’t be a Danzig record.

Much has been made of Deth Red Sabaoth’s organic vibe, as Danzig himself has highlighted the ‘70s amps the guitars and bass were run through in search of a more natural sound. Fine, but there’s no getting around how compressed the mix of the album is. Even at ridiculous volumes, the songs feel condensed sonically, and that’s across the board, from guitars, to bass, drums and even Danzig’s vocals, which as he says the song titles during several choruses – “Left Hand Rise Above,” “On a Wicked Night” and “Deth Red Moon” – are charmingly and characteristically indiscernible. The compression doesn’t ruin the listening experience by any means, but it is an example of how modern professional recording is at a crossroads and, I think, a little directionless. A discussion for another time.

Danzig is credited with having written all the songs on Deth Red Sabaoth himself (he even plays drums on “Black Candy”), so I suppose the blame for the pinch harmonics that flat-out ruin the riff of “The Revengeful” – the otherwise perfectly serviceable second track – have to be laid at his feet. Even as Victor lays down a shredding solo, they’re there, multi-tracked just beneath. I’m not a fan of the riff-riff-squee in the first place, but these seem especially annoying, and they come back during “Black Candy,” which, along with “On a Wicked Night” is one of Danzig’s many “this one’s for the ladies” cuts. “Deth Red Moon” reminds a bit of “Mother” in its main riff, but I far prefer the southbound bent of “Ju Ju Bone,” which has a swampy vibe in both guitar and Danzig’s vocals, and the doomed acrobatics of “Night Star Hel.” The latter is my pick of the album.

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