![]() ![]() ![]() “Above all, this reboot shows that the genre Sabbath helped birth remains timeless, insofar as the devil remains gainfully employed on Earth, and heavyweight rock shredding still kicks ass.” Osbourne “takes to his task here with full aesthetic sobriety, as if conscious of his responsibility to teenagers facing existential terrors for the first time,” he writes. Hermes also maintains the album’s modern-day resonance. But he’s a powerhouse, and his head-cracking style gives 13 a more modern feel.” PHOTOS: The Rolling Stones Rock Staples Center in Tour Openerįor Rolling Stone’s Will Hermes, Sabbath’s latest “revisits, and to an extent recaptures, the crushing, awesomely doomy spectacle of their first few records.” It packs stylistic variation: “Zeitgest” features “shimmering acoustic guitars and gentle-Druid hand drums set against restrained jazzbo soloing by Tony Iommi,” while “‘Damaged Soul’ goes from molten blues to a hot boogie jam powered by Osbourne’s harp.” Hermes is ambivalent about Wilk’s drumming, writing that he “doesn’t have Ward’s subtle swing. He deems “Age of Reason” a favorite track: “Butler, Iommi and Osbourne are all fighting for a larger allocation of space in the sonic spectrum, and they rip through fat hooks as Wilk’s drums wander the way Bill Ward used to do, adding a hypnotic element.” It’s “the album’s most adventurous and rewarding track” - but “Zeitgest,” Gallo also notes, is “Sabbath as you have never heard them before,” with “acoustic guitar, hand percussion and Osbourne’s voice put through a trippy ’70s time machine.” The record has earned mostly positive, if not enthusiastic, acclaim from critics.īillboard’s Phil Gallo praises 13 for recapturing Sabbath’s classic bombast. ![]()
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