Something that I have learnt over the past decade and a half, particularly as my music taste really started to branch out beyond the initial handful of bands that I heavily got into, is that just as much time and effort should be put into checking out the newer albums of older bands as should be put into seeking out brand new acts. Older bands, particularly those with plenty of hit albums and singles, often struggle to reach an audience with their new music. All too often the fans of older bands are content with listening to the albums that they grew up with over and over again, but those who are of that mindset are often missing out on some of the best new music being released. It is a mindset that I have never understood, as why would anyone not want to hear more from a band that they claim to love, but sadly it is all too common. This is largely the reason why some older bands have not put out any new music for years at this point, and why their setlists can really stagnate. Some fans just want to hear the same old songs over and over again, and sadly there are a good handful of bands who pander to these casual listeners night after night on tour. Stryper, however, are not one of those bands. With the exception of a ten year hiatus that lasted from 1993 to 2003, with a brief reunion in the late 1990s, Stryper have always been creating. Since 2005 the band have released six studio albums of all-new material; along with a live album, a covers album, and a collection of re-recorded classics; the latest of which, Even the Devil Believes, was released earlier this month. I am not familiar with 2005's Reborn or 2009's Murder by Pride, but since the band signed to Frontiers Records and released No More Hell to Pay (which I reviewed here) in 2013 they have really been on a roll. Even the Devil Believes is their fourth album of original material since joining Frontiers, and it keeps up the quality established on the previous releases. For me, No More Hell to Pay is still the best of the more recent Stryper albums, but both 2015's Fallen (which I also reviewed here) and 2018's God Damn Evil (which, you guessed it, I also reviewed here) are very enjoyable slabs of heavy melodic metal. While Stryper were often lumped in with the glam metal scene in the 1980s, and some of their songs (particularly some of the very sugary ballads) certainly fit in with that crowd, but in truth the band were always a bit more than your average glam act. The modern Stryper are certainly not sugary in any way, and Even the Devil Believes continues on the toughening up of the band's sound that made God Damn Evil such a success. I am not sure the songs are quite as memorable this time around, but Even the Devil Believes is still a strong album - with frontman Michael Sweet really on form once again vocally. This is the band's first album to feature bassist Perry Richardson (FireHouse), who had joined the band around the time of God Damn Evil's recording but did not actually feature on the final product due to time constraints.
While the heavier moments of Even the Devil Believes do not reach the furiousness of tracks likes Take it to the Cross, which even featured some harsh vocals at the chagrin of some of the band's more closed-minded fans, there is still a sense here that Stryper are really enjoying being a true heavy metal band at this point. There are still plenty of soaring, melodic moments to be found, but there is also a bit of a relentlessness. This was introduced throughout God Damn Evil, and it is great to see the band continuing an all-out metal approach. This is apparent from the off, as Blood From Above is one of the album's most furious anthems - with a pseudo-thrash guitar riff from Michael Sweet and fellow guitarist Oz Fox kicking things off. A high-pitched scream is not far behind either, which showcases Michael Sweet's enduring vocal power, but overall this is just a great slab of heavy melodic metal that contains plenty of energy and hooks. A simple chorus, with some over the top vocal harmonies, displays the band's 1980s roots; while Robert Sweet's heavy-handed drumming style helps gives the song a further kick. I have likened Robert Sweet's drumming style to Vinny Appice's before, and that comparison remains apt here. He might not be the most technical of drummers, but his hard-hitting style really boosts the band's power. As a result, Blood From Above really showcases the modern Stryper at their best - and it is sure to become a great live number in the future. Make Love Great Again tones down the heaviness a little and goes for a snaking mid-paced groove that really pushes Richardson's bass to the fore. The bass has never really been a big part of Stryper's sound, so much so that the band's former bassist Timothy Gaines was essentially banned from taking part in the recording of many of the band's classic albums, so it is interesting to hear Richardson's contributions really spotlighted here. His bassline really lays down the groove for everything else to build on, and the band make great use of this foundation with some haunting twin guitar leads and a somewhat more atmospheric approach. The verses follow a different pattern than what is usual for the band, with the aforementioned atmospherics dominating, but the chorus is very typical with soaring vocal harmonies and a chunky power chord backing. The only criticism I have of the track is that, at nearly six minutes, it is a tad too long. It could have been cut down a bit without really loosing much in my opinion for a tighter experience. Let Him In is a great throwback to the Stryper sound of the 1980s, and it is a great example of how the band would have sounded back in the day if their classic albums were not dripping in 1980s production qualities. There is plenty of crunch here, with chugging riffing keeping the verses ticking along, but the hooks are what really draws the listener in. As the song moves towards the chorus, the hooks start to get more memorable and when the chorus hits with its simple gang vocal chants it will certainly make people sit up and take notice. The arrangement here is very simple, but it is the sort of song that made Stryper popular back in the 1980s and it is great to hear them still churning out these sort of anthemic pop metal songs decades later.
Do Unto Others, the album's main single, is similar but perfectly fuses the band's classic 1980s sound with the heavier approach that they have been taking more recently. It does not feel quite as hooky as some of the other songs here, but the riffing and overall weight makes up for it - meaning the balance between melody and heaviness is well struck. The guitar tones used here, and throughout the rest of the album, are huge - and they really make the songs sound beefy. This, when mixed in with Robert Sweet's heavy drumming, makes the album sound massive; so much so that even the singles really hit home. Even the chorus, which is certainly going for a slightly sugary approach with layers of harmony vocals and anthemic melodies, still sounds tough with this backing. It is the perfect mix of old and new - and this is likely why it was chosen as a single. The chorus throws the listener back to the band's 1980s albums, while the crunchy verses show how the band have aged gracefully. The title track is again similar, with a mid-paced anthemic approach taken that revolves around a very Dokken-esque riff. In some ways I see Stryper and Dokken as part of the same strange genre that I can never quite name (not glam enough to be glam, not truly heavy enough to be pure metal, etc.), so this comparison is apt. The two bands were peers in the 1980s, so it is nice to hear some similarities between the two in this song. Michael Sweet and Fox team up constantly throughout for subtle harmony riffs and chord sequences, which again recalls that Dokken approach to layering, and the two play off each other later on too for a shredded solo section. A catchy chorus is the icing on the cake, and provides a hook that will not let the listener go. Not every song on the album is a winner however, and in my view the quality takes a little bit of a dip during How to Fly. The song is one of those crawling mid-paced rockers that never really seems to get going. I think that bands sometimes think that these sort of songs are epic-sounding and anthemic; but in truth they just end up sounding like a bit of a dirge. The pace never really picks up, which really limits the power of what could have been a handful of good hooks. The best part for me however is the guitar solo, which is still quite slow but it is phrased very nicely to make it probably the most melodically-pleasing moment in the song. Divider is better, and ups the pace somewhat to a crunchy mid-pace with some pleasingly heavy guitar riffing and Richardson's booming bass. This is another song that really emphasises the band's heavier side, with gang vocals emphasised throughout to give it a real 'fists in the air' feel. The call-and-response vocal style used throughout is sure to make the song a hit if played live, and it also allows Michael Sweet to really showcase his range. The verses see him taking something of a gritty approach, with the choruses allowing for some high-pitched power metal-esque vocals to fit in with the chanting of the rest of the band. It is a catchy and headbang-worthy song that really gets the album back on track after the weaker and plodding How to Fly.
This I Pray is a bit of a ballad, but also sees the band tackling something of a southern rock-esque sound. There is a big acoustic guitar presence throughout, but the bluesy guitar leads really recall the 1970s southern rock scene and evoke memories of the slower Blackfoot and Molly Hatchet tunes. Despite this change of tack, the song still fits in nicely within the context of the album. Michael Sweet does not go for a faux-country vocal approach, thankfully, so his voice really grounds the song in the classic Stryper canon; while occasional non-bluesy guitar leads remind the listener that Stryper are indeed rooted in the 1980s metal scene. I can see the song being a bit divisive within the band's fanbase, but for me it works. This style of ballad certainly suits the modern Stryper much better than trying to recreate their sugary moments of the 1980s would, with the organic sound providing a nice contrast to the heavier sound that the band have been chasing of late. Invitation Only is a pacey, energetic little number that places hooks at the front and centre of the song. Harmony guitar leads and prominent keyboard lines are constantly cutting through the mix to add to the overall experience of the song - with the standout moment being the floaty AOR keyboard lead in the chorus. Paul McNamara, who has handled the keyboards on all of the band's recent albums, really makes his presence felt throughout the song. He seems to almost be the unofficial fifth member of the band of late, and this catchy little track really shows what he can bring to Stryper - with his leads perfectly complimenting Michael Sweet's hooky chorus melodies. The album's final two songs push the religious side of the band to the fore. This has always been a turn off for some fans, but Stryper have always worn their faith on their sleeves; and so they should if that is what they are passionate about. Most of their songs probably have religious undertones, but some songs are certainly more blatant than others. For God & Rock 'n' Roll is another bit of a throwback to the 1980s, with Robert Sweet kicking things off with a precise drum intro before a catchy mid-paced verse takes over. The song reminds me, musically at least, of some of the hollower, mid-paced songs on those early Dio albums. It is not a song that grabbed me from the off, in the same way to the similar Dio tracks that I am talking about, but over multiple listens to the album the song has opened itself up. The chorus is perhaps not as catchy as it could be, but the song is still enjoyable in an organic and foot-stomping kind of way. The album comes to a close with the fast-paced Middle Finger Messiah (which could be one of the silliest song titles from a religious band ever), which is similar in style to Blood From Above - ensuring the album finishes as it started. Some of the riffs have a similar thrashy feel, and the chorus is a snarling effort that features some surprisingly gritty vocals from Michael Sweet. He certainly has one of the best-preserved voices of his peers in my opinion, and he showcases his grit and range throughout the album. This song sees less of his upper register however, with the snarling approach taken here showcasing his power. The lyrics are silly, but the song is still powerful and memorable - and it certainly ensures that the album ends on a hard-rocking and powerful note. Overall, Even the Devil Believes is another strong album from a band who have really found a new lease of life over the past decade or so. Michael Sweet and co. certainly know what their fans want, but are also not scared in upping the power and really pushing their serious metal credentials to the fore. This is an album that will certainly gets heads moving, and it is another solid entry into the band's impressive canon of releases.
The album was released on 4th September 2020 via Frontiers Records. Below is the band's promotional video for Do Unto Others.
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