Review Summary: Not the best of classic Saint Vitus but still pretty dang good
Saint Vitus’s second album can be seen as the other side of the same coin as its self-titled predecessor, exhibiting many of the same tropes in its playing and production. However, there is more focus on the uptempo side of their sound. It arguably makes for an even closer connection to their punk roots while taking their first steps toward bonafide metal territory, dipping into the sort of “fast doom” that Trouble was getting into around the same time.
With that, Hallow’s Victim certainly starts off in tight fashion. As with the debut, we get another excellent opening one-two with “War is Our Destiny” and “White Stallions” being bolstered by pounding drums, flailing guitars alongside sturdy chords, and especially theatrical wails. “Mystic Lady” is a slight mid-tempo adjust but does well in executing that classic Saint Vitus riff/vocal interplay.
From there, the second half admittedly dips in comparison but maintains some solid quality. The title track is a wild change of pace as the band briefly dips into hardcore punk while “The Sadist” and the cutely titled “Prayer for the (M)asses” are fun enough romps. On the flip side, “Just Friends (Empty Love)” doesn’t quite put in enough musically to make up for those proto-incel doom lyrics.
While Hallow’s Victim is probably the rockiest album of Saint Vitus’s classic era, it still manages to be a strong effort. The band’s signature style remains as uniquely out of step with the times as ever and the faster approach makes it unique in the context of their own discography with some staple songs springing forth from it. It’s on the cusp of essential listening but anybody that’s acquired a taste for classic doom can be cleared to dig right in.
