STRYPER: When We Were Kings

The title of the new Stryper album, like pretty much all of them, is really clever and appropriate. Not only were they kings of Orange County and Hollywood for a while (as the fun title track video attests), they stood tall and were counted as peers in the decade that musically took over the world. No one calls them THE king of heavy metal, but they are certainly in the court of kings when that realm is looked at with a serious set of ears. The most amazing thing about this band is that are still kicking butt and taking names when it comes to blow you back against the wall power metal. Unlike most of their peers (Motley Crue, Poison, Guns ‘N Roses, Ratt, and more), it can’t really be said with 100% accuracy that “their best days are behind them.” Not when you consider this album and even the last four they’ve cranked out. This band shows no signs of slowing down or mellowing out. And that says a lot for a band that made its jump from clubs to arenas with a power ballad called “Honestly.” Even their record-setting ride atop the voice of the people’s 1-800-DIAL-MTV was started by the pop metal tunes “Calling on You” and then “Free.”

Storming out of the gate with track one of this album is the fiery fast scale that leads into the twin guitar attack of “End of Days.” The vocals kick in and the aural assault continues. Then harmony vocals take it a step further. It’s aggressive and it’s declaring what it’s about. When it’s over the listener almost needs a rest. It’s like a blessed workout for the ears. I can’t imagine how the band members feel (tired)! It’s an intense start to an intense album.

This is how many of us, I think, envisioned Christian heavy metal to be – declaring the Word of God with boldness, confidence, and unapologetic power.

“Unforgivable” doesn’t let up. Like “End of Days,” the pre-chorus and chorus lines are singable and memorable. With lots of power chords leading the way, guitar leads fill in all over the place. The title track shows up third, with only a slight dip in tempo. This song leaves a little more breathing room (a lower volume sound bed) for Michael Sweet’s vocals to ride. There’s lots of harmony vocals that make this tune a little more palatable to, say, the girls that might come to their shows with us. It creates a very emotional and nostalgic feeling, carrying the lyrical theme perfectly home to our hearts.

So far (only three songs in), the album is a guitar feast! Fans of Randy Rhoads and Eddie Van Halen should be proud. It’s trademark Stryper sound and tone, but it’s very pleasing to the ears of shred fans.

“Betrayed by Love” shows up next with a slower, ballad-like tune but replete with heavy drums, bass, and guitars. It’s the ballad you might expect from this band that’s always tackled those with excellence and melody.

“Love’s Symphony” comes on next, slowly starting to speed the tempo and heavy factors up. Michael’s vocals, just like all the other instruments, sound as clean, gritty, or as powerful as ever. If you like galloping bass and guitars, you’ll love the bridge here. This is not the first song that should win fans of Iron Maiden over to the unique Stryper sound. The chorus is big and singable. The song spins out fast with fiery instrumentation that would feel right at home in the early ’80s (only with better production here).

“Trinity” has more guitars chugging along at breakneck speed. If a song competition tv show told a metal band to write a song that expounds on a mysterious theology like the trinitarian nature of God, this one would clearly be the winner. The diving keyboards and energetic drumming flow along and keep things very interesting. Michael hits a trademark wail scream to spark off the tasty guitar solo.

“Rhyme of Time” brings the tempo down again, but the full band is ever present in the background. “Raptured” takes on a theme that might be unexpected when considering Stryper’s history and fanbase. It’s basically another love song about the joys of being loved. Ya gotta check out the guitar tones in this solo, too. It dials in a different sound than we usually get with these guys.

“Grateful” slows down a tad again and spills out a heart-warming chorus of gratitude and verses that plod along. “Divided by Design” takes on more aggression with the vocals while the snarling guitar playing picks the strings with a nice dirty distortion. The solo near the end uses some cool wah-effects.

“Imperfect World” closes the 11-song album with another galloping tune that could fill an arena. It’s easy to imagine Michael Sweet placing his foot on a monitor wedge and belting out these lyrics. It’s nice to hear the band soar like a skyrocket – both vocally and musically. And, just in case you haven’t had your fill of fills and leads, there’s plenty more to take the song over the top. And there’s more harmony vocals.

This album will make vocalists and air guitarists of us all. While the bass and drums reveal themselves, they never take center stage but they certainly bring the wood, so to speak. The whole band does. The album flat-out rocks and delivers. While the hooks might not be as drenched in “Calling on You” or “Always There For You” sugar, they’re plenty strong and sweet.

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