Black Sabbath
Vol. 4

THE REVIEW

The Sabs had declared that "Vol 4" would be their most varied product ever.
In a period when numerous bands had risked damaging their credibility by offering the ever-growing Heavy Rock scene (the term Heavy Metal was not in vogue then) decidedly innovative productions compared to their successful beginnings, the four from Birmingham did not seem to care much about such frivolous conservative paranoias, which to this day sadly grip numerous musical scenes.

Having abandoned the expressive ferocity and the cadenced darkness that had characterized their musical paths up to that point, Black Sabbath presented themselves as a band devoid of any fear towards sonic experimentation, suggesting a possible comparison with the new Progressive school that had bands like Genesis, Yes, and ELP at its peak.

Inexplicably criticized by the press, the album presents a unique and particular compactness, resulting in a fascinating and melancholic experience if captured in its entirety. An uninterrupted suite, a direct path to the heart of the sonic experience of the four members, which takes shape during the long instrumental tail of the opening track ("Wheels Of Confusion" which inevitably suggests a reference to the already mentioned Progressive scene), cradles you with a classic and very delicate ballad (the surprising "Changes") only to then plunge into the empty existence to which cocaine abuse condemns ("Snowblind").
A special mention certainly deserves the astounding mastery of Tony Iommi, from whose hands riffs spring that, while shining with their own light, never seem decontextualized from the melodic structure of the tracks ("Supernaut" is certainly the best example).

A journey outside the artistic path typical of Osbourne and his companions, rich in strength and emotional charge. Not epochal but particular.