Saint Vitus
Lillie: F-65

There are few artists, in any field, who generate a true "cult" of their persona and their works. Even fewer are the bands that have managed to win over, especially in a difficult environment like metal, the favor of critics and a large following of fans. Saint Vitus can be considered among the members of this group of "privileged" ones. That is why every new release by the members of the "cult club" provokes discussion, both for better and for worse. Expectations, fears, and new hopes are combined, especially when a band has etched its name in the history of their musical genre.

22 years have passed since the last CD with Wino Weinrich on vocals, 17 since the release of the distant "Die healing" with Scott Reagers behind the microphone. But dissipating the mists of time, on April 27, came the new challenging work titled Saint Vitus, with the enigmatic title "Lillie: F-65". A chapter that arrived after the death of Armando Acosta in 2010, the first and unforgettable drummer of the combo (replaced by Henry Vasquez).

The usual dose of turmoil that accompanies listening to an "important" album cannot, in this case, undermine the first impression that immediately jumps to the attention of a listener familiar with the band's past history: the sound has essentially remained what has delighted fans of the genre. A songwriting as simple as it is dark that draws vital energy from the amazing (in every sense) work of axeman Dave Chandler. The tattooed and quirky guitarist paints his usual black and drugged plots, serving as the architecture for the voice of "Wino": the singer, returning after a long period of separation, does not seem very inspired and his vocal tone appears too often monotonous and fossilized on low tones. Age is advancing for him too.

The first track in 17 years is "Let them fall", also chosen as a single: a poor choice given the quality of the song, overly inflated by Chandler's work and lacking any spark. An anonymous and lackluster piece. Even "The bleeding ground" does not shine too brightly, while the instrumental "Vertigo" is noteworthy, with its melodic flavor and vaguely psychedelic aftertaste. But these first tracks are overall disappointing, especially when compared to the anticipation of their conception. It is from "Blessed night" onwards that the work takes off: first with the Sabbath-like rhythm and enveloping nature of the already mentioned "Blessed night" and then with the oppressive darkness of "The waste of time" and especially of "Dependence", which besides presenting a soft intro, also has the audacity to delve into the distorted, dreamlike grooves of Chandler's guitar, giving life to a central part where he stands out as the sole and absolute protagonist.

As always, it's a spectral journey that the Los Angeles band proposes in "Lillie: F-65". A journey, however, that's far too short. Seven tracks, with two being instrumental (the last one "Withdrawal" is quite negligible), are not much. Furthermore, the overall vibe is not what it was in their early works and the ideas seem to have run aground in the viscous sound of Chandler's guitar impulses: this Lillie is a "static" album. Zero inventiveness, no unpredictability in the tracks. An album built in this manner, while enjoyable in some respects, evidently reeks of mannerism.

Saint Vitus have returned. They have done so cautiously and without much courage. A CD of this type will surely be forgiven, but the feeling is that Wino & Co. have merely punched the clock.

We're back, but perhaps we're too tired.

1. "Let Them Fall" (3:52)
2. "The Bleeding Ground" (6:07)
3. "Vertigo" (2:37)
4. "Blessed Night" (3:59)
5. "The Waste Of Time" (5:39)
6. "Dependence" (7:36)
7. "Withdrawal" (3:25)