Whitecross
Unveiled
Reviewed by Brent Hershey
Make no mistake, this new release by Whitecross qualifies as a comeback attempt. All of the ingredients are here: new members, new record label, and, most of all, a couple of disappointing (even, at times, boring) records in dire need of a rebound. Unlike many, Whitecross has much to rebound to. Namely, its status as one of Christian metal's most successful bands. But, with the departure of crowd favorite Rex Carroll, who no doubt inspired a generation of bedroom air guitarists, vocalist Scott Wenzel and company have their work cut out for them.
To go hand-in-hand with the new aspects of Unveiled seems to be a decided change in approach. While all the Whitecross albums previously were basically of the Scott, Rex and Two-Revolving-Musicians theory of making the most of individual talents, Unveiled is the first record that sounds like a band. As in four guys settling into a groove, complementing each other's strengths and filling in for weaknesses - not just a great guitar lick, an outstanding vocal take and...well, um...you get the picture. Wenzel has definitely matured in this area, as he sounds more controlled - and in control - than ever before, all while regaining a vocal bite that had been MIA for a several few years. Unveiled is undoubtedly Wenzel's finest performance to date; subtlety is indeed a wonderful thing.
The songs themselves range from fantastic to mediocre. "Salt City" and "Home in Heaven" are both driving, powerhouse rockers cut from the same cloth as recent Bride - where the band is a unit and the ending comes too quickly. "Come Into The Light," though, never reaches the elusive "click point," and fizzles out soon after it starts. "Angel's Disguise" shows some lyrical depth, urging the listener to look beyond the clothing and appearance and into the heart of people, as God does. "King of Angels," though, smells like the calculation of In The High Kingdom Gear. Is it just me, or does Whitecross have more crowd-participation numbers than a "Wave your hands in the air like you just don't care" rap posse?
When Unveiled scores, it can be traced back to substance. "Goodbye Cruel World" is a mid-tempo 70's jam that drips of Led Zeppelin, and it's here more than any other where Whitecross sounds like a gritty, blue-collar band playing for its life. For all we know, it may be.