Iommi
Fused

THE REVIEW

Tony Iommi and Glenn Hughes. Merging two souls into a single creature. "Fused" is precisely the term that best represents this work. There is finally a fusion between musicians, suggesting the intent to go beyond their own inclinations. There's Bob Marlette on the keys, the same as on the solo album "Iommi," who arranges in step with the times and the musicians. The work represents what an alchemy born from a decade of experimentation can lead to. Okay, to value certain precious elements, it's necessary to test its background, but an attentive listener cannot ignore the superb performance of this latest union between legendary icons of hard rock.

The motivations and reasons, for a fan such as myself, surpass the rational. Appealing to the mirage of journalistic honesty, I will take refuge in the belief that "Fused" is, first and foremost, well-produced. The technological leap that this decade has gifted rock fits perfectly with the songwriting of the perpetual Iommi, he upon whose shoulders the burden of Black Sabbath has rested these last twenty years. The mentor of rock "in cadence" once again uses craft first, and only then class. The "doom" approach with his devilishness immediately reveals the attitude that distinguishes him the most. The penultimate track of the album, "The Spell," best represents the Birmingham guitarist's inclinations, melodic and heavy, liquefied in the heavy blues appeal of the vocals. Also over the top is the long closing track "I Go Insane". The so-called doom-ballad of this work, in its simple yet ever-changing structures, teaches us that pathos is not solely the prerogative of subdued dynamics. Even Hughes' voice (bass and vocals of Deep Purple during the funky '70s period) seems unwilling to make way for the passing time. The English singer delivers us rapier thrusts. Listen to "Wasted Again" to believe it, and I challenge any of today's self-celebrating rockstars to tackle such vocal feats. A distinctly more modern style episode is the opener "Dopamine," a track that could easily stand as a hit in today's cauldron of new American metal (and woe to call it "nu metal," which went out of fashion before it was even born). "Grace" also deserves praise, built on a classic Iommi riff and enhanced by the ensemble created by a certain play of effects and arrangements.

"Fused" is a high-school Hard Rock work, and it's also quite well assembled: the thread that should guide every good album from one track to the next is not missing. This is a group of people who have nothing to prove to anyone, and who above all do not lack class. I will make a judgment even though my heart does not allow me to give a rational evaluation. But if one feeds on a certain type of hard rock, the temptation to cry miracle is strong.