W.A.S.P.

Reidolized (The Soundtrack to the Crimson Idol) is an album to place in W.A.S.P.’s 2018 discography through theatrical storytelling, dangerous rock and roll and a da

Golgotha layers W.A.S.P.’s heavy guitar riffs, dramatic vocals and dark storytelling into theatrical heavy metal.

Babylon channels W.A.S.P.’s apocalyptic and religious imagery into heavy riffs and theatrical vocals.

Dominator uses W.A.S.P.’s dramatic heavy-metal language to emphasize pressure and anger.

The Neon God: Part 2 – The Demise takes the story begun in the first volume into darker, heavier territory.

The Neon God: Part 1 – The Rise uses heavy guitar, shadowed vocals and dramatic movement to tell the story of a central character.

Dying for the World uses heavy guitars and Blackie Lawless’s urgent voice to draw anger, grief and prayer into sharp relief.

Unholy Terror emphasizes W.A.S.P.’s darker sense of drama through Blackie Lawless’s theatrical voice and heavily chiseled riffs.

Helldorado drives forward with thick guitar riffs, heavy beats and Blackie Lawless’s theatrical vocal presence.

Kill Fuck Die breaks away from W.A.S.P.’s expected glam and traditional-metal contours with mechanical beats, distorted guitar and abrasive language.

Still Not Black Enough frames Blackie Lawless’ anger and isolation through the large riffs and theatrical vocal character associated with W.A.S.P.

The Crimson Idol is Blackie Lawless’s concept story of fictional rock star Jonathan Steel.

The Headless Children keeps W.A.S.P.’s rough hard-rock momentum while moving into heavier themes and more deliberate construction.

Inside the Electric Circus connects W.A.S.P.’s raw heavy-metal force and dangerous-showmanship image to large, direct choruses.

The Last Command keeps W.A.S.P.’s provocative momentum while bringing larger melody and drama into the songs.

W.A.S.P. turns Blackie Lawless’s rough vocal attack and thick riffs into a debut that makes the band’s extreme stage image work as music, too.