Good album, shit tracklisting. They open with an obvious Manowar crusher, follow it with six ballads/operas/studio experiments, and then run three fast metal songs back to back to back to back, giving you no space to breathe.
If you want to get the most out of Warriors of the World, perform the following surgery. 1) include the two songs from the Dawn of Battle EP. They’re great songs, and there’s no reason they shouldn’t be on the album. 2) Delete “The March”, “Valhalla”. While we’re in the neighbourhood, delete “An American Trilogy” and then reformat your hard drive just to destroy all traces of it – worthless song. 3) Redistribute the three speed metal songs at the end so that there’s more variety in the pacing. You’ll be left with something a bit like this.
1. Call to Arms
2. The Dawn of Battle
3. Warriors of the World United
4. Swords in the Wind
5. Hand of Doom
6. I Believe
7. The Fight for Freedom
8. House of Death
9. Fight Until We Die
10. Nessum Dorma
It’s a shame when fans have to do the musicians’ work, but the album’s current tracklisting makes no sense and creates an odd listening experience. Which is frustrating, because Warriors is a good album.
Some songs, in fact, reach beyond good and enter the state of excellent. “Call to Arms” takes me into a state of ecstasy every time I hear it. “Warriors of the World United” is another slow one with a powerful chorus, reminiscent of RJD-era Black Sabbath. “I Believe” is Manowar in full cheese mode, while “The Fight for Freedom” and “Swords in the Wind” are epic ballads. “Nessum Dorma” is an Puccini opera aria, which Eric obviously nails. The band likes performing this song in Italian when playing in Italy, as part of their multilingual obsession that has culminated in feats such as recording a single song in sixteen different languages.
“House of Death” is the kind of full-throttle mayhem the band does so well, while “Hand of Doom” sugars things up with some dramatic pad sounds and wild sweep-picked arpeggios courtesy of Karl Logan. “Fight Until We Die” is another fast one, full of menace and aggression. But the greatest speed metal song on offer is definitely “The Dawn of Battle”, which is so cool I can barely put it in words. My soul has been healed, by the power of steel!
The loyalty of Manowar fans despite everything the band has done wrong is part inspiring and part horrifying, and draws comparisons to battered wives and abused dogs. IThere’s a sucker born every minute, and no doubt a sucker listening to a Manowar album every minute, too. I continue to love Manowar and their music, even though I think Joey DeMaio is an abusive lunatic and the rest of the band are enablers and catspaws. The tracklisting on this album is ghastly, and some of the songs rank among the worst things Manowar has yet conceived. But there’s a still a good fixer-upper of an album here, and if you want to put in some extra work, it could actually be described as great.
There’s lots of bad music these days. I don’t mind that, but what bothers me is the lack of interesting bad music.
Where’s 2013’s answer to such moments as 2:34 in Korn’s biggest hit? Where’s Faith no More and Mike Patton when you need them? Where are the modern rejoinders to “CRAAAAWWWLIING IN MY SKIIIIN” and “LET THE BODIES HIT THE FLOOOOOR” and other inspired fits of stupidity for when you’ve got too many brain cells? Why does all modern bad music feel equivalent entertainment-wise to staring at a wall?
The first two Slipknot albums were ass and I will hate them forever, but they were memorable. The third was half shitty songs and half songs that I unironically enjoy. This album showcases a new style for the band…or a lack of one. Slipknot has no identity of their own any more. They sound indistinguishable from Chimaira, Lamb of God, and Machine Head. All Hope is Gone is like an album created by a committee.
Opening song “Gematria” writes a big quod erat demonstrandum on this hypothesis. The band doesn’t just use cliches, these use every cliche: It has Machine Head aggro-groove, FFDP-esque tough guy vocals, ultrahardcore breakdowns, and obviously the song itself goes nowhere. You can hear the band asking themselves “well, rapping on metal records isn’t cool anymore so…uh…this is what kids today like, I guess? No? Well about this?”
“Psychosocial” is a more cohesive song with an annoying chorus. “Sulfur” and “Butcher’s Hook” are filler hovering at the outer edge of listenable. “Vendetta” has stupid verses and a stupid chorus and a stupid middle section, there is not a single second of this song that I like.
We get an extra-heavy dose of Slipknot’s softer side this time around. “Dead Memories” is probably the best of the bunch, sounding like Alice in Chains. Then in descending order of quality is “Snuff”, “Child of Burning Time”, “Wherein Lies Continue”, and the worst song on the album, “Gehenna”, which sounds like Kid Rock trying to make a Mr Bungle song or something.
“This Cold Black” is a good song. That is not sarcasm. Somehow things work this time. Every now and then the three neurons this band has between them connect in an interesting way and produce good music. You can’t read too much into it.
The band has barely any use for four of their nine members this time around. There’s not much custom percussion, turntable scratches, or sampling. They sound like just a regular five piece band playing regular five piece music. They traded out the funny lyrics they just to have about Corey Taylor’s shitty childhood and replaced them with lyrics about politics. “ America is a killing name, it doesn’t feel or discriminate…Start a war in another backyard, and we’ll destroy your house of cards“…when I want opinions on the Iraq war, I definitely go to a bunch of people wearing clown masks.
Slipknot used to be a bad band with an amusing side. Now they’re making music so weak and boring that, by the end of All Hope Is Gone, even it seems to be asking you to turn it off.
After releasing a few albums so featureless that I suffer from narcolepsy thinking about them, AC/DC stopped messing around.
The greatest four-song streak in accadacca history starts with “Thunderstruck”, featuring a iconic main riff and a great vocal performance out of Brian. “Fire Your Guns” is fast boogieing rock with lots of attitude – when it wants to, this band is better at being Aerosmith than the actual Aerosmith. “Moneytalks” is fun, catchy, and irresistable. “The Razors Edge” is another patented AC/Creepy song…maybe their second best AC/Creepy song, after “Hell’s Bells.”
After these four songs end, the album goes into fillerland, but even the filler sounds energetic, switched-on, and inspired. Listen to “Rock Your Heart Out”, with its nimble, ninja-like slashes of guitar and bass weaving through Chris Slade’s percussion. “If You Dare” is built around a catchy hook-and-release formula. “Are You Ready” is a drawling, sprawling song that sounds like a bar’s last call encapsulated in music. “Shot of Love” has a hard, mid-tempo grind. On every track, the band sounds muscular, vital, and alive.
What happened? Slade is definitely a factor. His drumming is much busier and more interesting than Phil “Wants To Be A Metronome” Rudd. I gather he didn’t work out personality-wise, but he’s probably the best drummer AC/DC has worked with. Normally Angus and Mal’s riffs are what I pay attention to when I listen to this band. On The Razors Edge I listen to the drumming, too.
The production is also a bit different to past records. The muddy, reverb-saturated din of Fly on the Wall et al has been traded out for the crisp production style that AC/DC has used ever since. The title is appropriate, as this record has a sound sharp enough to shave with. This is the first AC/DC album to not be immediately dated by its production style.
But mostly, it’s the songs. They are good, and nothing else is required – the new drummer and revamped sound are just paint. I don’t know what happened, but the band seems revitalised and renewed.
AC/DC realises that never changing your music can be a bug, but it can also be a feature. While other bands are getting in on prog rock or grunge or nu metal, AC/DC just keeps doing what they do, oblivious to trends. On this album though, they made some subtle shifts, and all of them were for the best.
This lineup fell apart, and AC/DC began another gradual slide into boredom. But this was an exciting album, not just on its own merits, but because of what it portends for the future. The old power lives on. AC/DC might seem hooked up to life support these days, but only a fool pronounces them dead.
The missing apostrophe bugs me, though.
