Blue Stahli
The Devil

The umpteenth entry in the small goldmine of FiXT bears the signature of Bret Autrey, better known as Blue Stahli. The Devil is the latest work by the Detroit musician, and like Celldweller, it pursues the same metal-electronica program, but with some noticeable differences. Compared to Klayton, Autrey takes himself much less seriously, assuming a bit of a Joker role and letting go of dark-gothic references and mystical religious ramblings, despite the title suggesting otherwise. The tracks are relatively short and quick in their succession, with careful calibration of the overall pace. The production also alternates in this case with lines clearly recorded live, noticeable powerful rhythms and heavy electric guitar riffs, but all is then heavily remixed and processed in the studio. This is a very different approach compared to other producers, in this case, one can notice an evident metal matrix that tries to adapt to modern and pop sounds making use of great familiarity with post-production. The result is undoubtedly original, although unfortunately lacking that English genius touch that makes the difference.

The Beginning is a fairly useless intro and not very indicative either, but the situation is firmly grasped by Not Over Til We Say So, a stunning start at supersonic speed, in full thrash style, then the computer opens up and we are led toward hip-hop rhythms that Autrey uses to set up the vocal section, remembering that he is the vocal performer on all tracks, leading to an almost pop refrain. A strange combination that represents one of the album's most solid moments. Armageddon continues more or less along the same line, albeit at a reduced speed. As mentioned, the quality of the guitar riffs strikes, distinctly superior to similar productions, particularly noticeable in tracks like Ready Aim Fire and Shoot Em Up. In Rockstar, Autrey seems to want to mock characters like Katy Perry and Marilyn Manson in its various sections, while in You'll Get What's Coming, he features Mark Salomon of Neon Horse. Generally truly irresistible when he unleashes in sessions with depth worthy of a video game, I find Autrey much less incisive in the more serious and dramatic moments, fortunately very few. As mentioned, the arrangements then result more interesting—remarkable certain passages—than the somewhat bland singing and inclined to incursions into overly captivating refrains, which might make metal fanatics cringe.

The Devil is the most misleadingly titled album of the year, in reality, there is very little demonic inside, if we want to consider the colorful toy hidden inside as such. A well-produced album of pure entertainment that tries to combine metal with pop and electronics often succeeding. Perfect as a background for the current shooter game, I would see it particularly suited for a match of DOOM as well.