Vanadium
Corruption of Innocence

CORRUPTION OF INNOCENCE (1987, DURIUM)
A symbolic synthesis of the desire for renewal in sound and a progressive approach to the explosive melodies of '80s American rock, “Corruption of Innocence” represents an ideal bridge between the strictly seventies-anchored sounds, expressed more or less significantly in all the previous works, and the future U.S.-influenced excursions of “Seventheaven”.

As with every transitional album, in this episode we find all the merits and flaws of a work destined to assume, in hindsight, certain characteristics. The production of the album is entrusted to the famous Jim Faraci, a renowned producer and magical demiurge of the dynamic sound contained in the multi-platinum LPs of Ratt, as well as a fundamental presence behind the console of Poison and Guns N’ Roses. However, despite succeeding in bringing the sound of the record closer to the standards of the period, Faraci’s work presents some shortcomings, especially in the episodes more akin to the melodic/A.O.R. side, where it struggles to escape the clichés of the genre.

The mechanism that should make the choruses explode in all their power is still in the phase of refinement and, with a few exceptions, Faraci’s work, while of excellent quality, does not live up to his worldwide reputation. Nevertheless, the production is certainly clearer and more vibrant than previous works, where a sound still very much tied to the seventies tradition was evident.

“Welcome to the room of innocence and corruption…” is the phrase that introduces this work and immediately brings to mind the use that Ratt made of filtered voices in their second multi-platinum album “Invasion of Your Privacy” (1985); the first track, “Backbone of Society” opens with a thunderous intro, devoted to the most spectacular American shock rock. With great skill, Vanadium combine their early influences with the powerful and elegant sound of Dokken and White Lion, igniting a fuse that soon explodes in the subsequent song “Down‘n’Out (Broken Inside)”, a dynamite track characterized by a beautiful central solo by Tessarin, as well as a driving rhythm section. “… I won’t to sell my soul to be on top – a rock n’ roll star…” sings Pino Scotto in this autobiographical-flavored track, which perfectly captures the attitude of the Milanese quintet, an example of class and humility. We move on to “Gimme So Much”, a solid track over which the shadow of Ratt hovers once again, and reach “Corrupted Innocence”, a song with great tempo variations dedicated to a tragically deceased friend. The very touching subject addressed by Vanadium reaffirms their attachment to the events of real life and their enviable ability to tell authentic stories with great sincerity. It’s the turn of “Winds of Destruction,” a song that perfectly embodies what was said at the beginning: a great central guitar solo and a splendid use of the bass at the closing are not enough to elevate this track, which remains inevitably penalized by a production that doesn’t capture the depth of the chorus and softens its effect, resulting in making the voices seem extremely distant.
The story of blood and violence narrated in “Winds of Destruction” is followed by the formidable “Talk of The Town”, as energetic and sparkling at the opening as it is destructive in its evolution, the ideal sister of many songs birthed by W.A.S.P. and Twisted Sister. To break the tension comes the magnificent ballad “Images”, characterized by a typically '80s melodic taste, comparable to Def Leppard’s “Hysteria” and introduced by a soft and delicate arpeggio. Escaping the canons of the simple love song, Vanadium produce an authentic act of love for the Goddess Music, expressed in verses like “…Living music just like love…” or “…Music – deep inside you – giving me all I need to go on…”. The closing voices, once again, are a reference to the already mentioned Ratt and, in particular, to their single “Lay it down”. The pace changes abruptly again with “Dangerous Game”, a piece featuring yet another engaging guitar solo, truly technical and fast, accompanied by the perfect complement of Zanolini’s keyboards and a central break that interrupts the tension with a revitalizing effect. The theme addressed is typical of hard rock, that of the femme fatale, destined this time to undergo a singular revenge.
The album ends with “Over the Limit”, a remarkable piece in which, however, the chorus fails to explode: the band nonetheless benefits from a great contribution from the keyboards that color the sound of this excellent song teetering between Dokken’s “Tooth and Nail” and Vyper’s “Prepared to Strike”.
Some weaknesses in the choruses, in any case, do not succeed in overshadowing the value of the pieces contained in this “Corruption of Innocence”, a compact and powerful album, a worthy example of '80s hard rock.

A fresh and immediate energy and a great ability to create solid yet harmonious riffs make this album a first-rate product.
Ultimately, this album represents an excellent example of Vanadium’s dynamism and is particularly suited for lovers of glam/A.O.R., street metal, as well as guitar-driven rock’n’roll, who will find it impossible not to appreciate the technical skills and the undeniable melodic taste of the Milanese group.
(Enrico Rosticci)