Artist: Anthrax
Label: Sanctuary Records
Release Date: 5/6/03
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Title: We've Come For You All Artist: Anthrax Label: Sanctuary Records Release Date: 5/6/03 |
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Abyss's Review:
I really am amazed at how little I care about this band now. Anthrax played a very significant role in getting me interested in metal. The first metal show I ever saw was Anthrax with Celtic Frost and Exodus. My first impression of Anthrax's music was that it was heavy and fun. They never took themselves all that seriously, and that made them all the more interesting to me. But I must admit, I pretty much lost interest after Among The Living. I kept trying to like them, but it just never worked out.
"On paper it seems like I should still like this band." Whenever someone defends the band to me, I usually agree with everything they say. On paper it seems like I should still like this band. They continue to grow as songwriters, as their newer material is more mature and takes itself seriously. They haven't 'sold out' or watered down their sound, yet they sound nothing like their earlier incarnation. This is partially why I've been a little interested in this, their latest record. The press release that came along with it quoted the band members as saying that they've returned to their roots a little bit on this record. Now don't worry, I'm not enough of an idiot to put any faith in a press release, but I must admit it piqued my interest.
As you would expect it was pretty much all bullshit. The only song that reaches back to their roots a bit is "Black Dahlia" which has an 80s thrash sort of vibe, but the album as a whole sounds just as much like latter day Anthrax as the rest of their newer albums. Unfortunately for me, that means that I can't get into it. The band has utilized some notable guest stars (The Who's Roger Daltrey for one) and touches on a lot of different styles. The thrash of "Black Dahlia" shares the disc with the southern rock-ish "Cadillac Rock Box" and the more urban "Taking the Music Back".
"This one's only for the true fans." And while none of the album can be called bad, it is far from remarkable. I have always hated Bush's vocals, so that makes it even harder for me, but I've read other people say that this album is a return to form after a disappointing Volume 8. In all honesty it strikes me as the exact same vein.
But let's get to the real problem with the album. The artwork. You know how they say you can't judge a book by its cover? Well, after careful thought I've realized that you can judge an Anthrax album by its cover. The better the artwork, the better their albums have been. This album sees them returning with a drawing of the band members, never a good idea. Whoever's been overseeing the art direction should delegate that authority. This one's only for the true fans. One word review: Blah.
Death's Review:
Since we started reviewing in October 1999, Anthrax has not put out a new studio album. That changes on May 6, 2003, when Sanctuary records finally releases We've Come For You All here in the United States. Before I review it, I'll give you some perspective on my opinion. I love Spreading the Disease and Among the Living. I think State of Euphoria was a letdown. To my ears, songs like "Medusa" or "I Am the Law" absolutely smoke the overplayed cover, "Antisocial," for example. Persistence of Time is better though - "In My World" comes across great in the live setting. But John Bush era Anthrax is actually better in many ways than the older stuff. Well, maybe not, Among the Living does kick serious ass.
"We've Come For You All is no exception to the expected Anthrax quality standard." But the albums Anthrax has made with John Bush have all been good, and they have aged gracefully. Overall, I think that the John Bush era is way better than Anthrax would have been if they had stuck with Joey Belladonna - prior to the lineup change, the band was deteriorating somewhat into a clownish act, silly shorts with bright colored prints and a "NOT" man running around on stage were getting all of the attention. With Sound of White Noise, things got serious again. Anyway, all of the releases Anthrax has done with Bush singing have been serviceable, at minimum, and always have been filled with aggression, emotion and intergrity. But some turns the band has taken have been more productive than others, and their dogmatic refusal to allow the "nostaligia" element to dictate any significant portion of their appeal thus far has been limiting - I wish Anthrax would bust out in an all-out thrash attack once in a while, or play an obscure classic or two in concert. Still, the songs have always been good, the musicianship first rate. Charlie Benante may be one of the greatest thrash drummers ever, but as a songwriter, I guess he doesn't always need to unleash blast beats and pummeling double-bass to get his point across.
We've Come For You All is no exception to the expected Anthrax quality standard. The album cover art, done by comic book artist Alex Ross, is very cool. The logo looks cool, done in the classic style. Pop in the CD and crank up the volume for the "Intro," a tom-tom driven riff that builds in intensity while huge, fuzzy ascending power chords accent each measure and a megaphone-mix dude barks about something or other. It sounds awesome, and gets you pysched for the old-school attack of "What Doesn't Die" (which follows), a throwback to the Belladonna era with touches of Machine Head-ish distorted harmonics on the chorus, which, songwise, also happens to be one of the albums' best tracks. The riff "feels" like the same kinda crunching, bass-heavy bounce heard on classics like the verses of "Caught in a Mosh". The middle "mosh" part tears up the entire fucking room. Bottom line: the song sticks in your head and won't go away. The next track, "Superhero," was played on the band's last U.S. tour. It sounds great here - another song that latches onto your brain and won't let go.
The next song, "Refuse to be Denied," is a cool, rolling, lumbering, kick-ass new era Anthrax tune, and one that serves as a great showcase for Bush's vocals. "Safe Home," the single that follows, is a good song, I guess, and is kinda catchy, but it is too soft for my tastes I think. It just falls flat somewhere along the way. If you like your Anthrax heavy and hear this song first do not be scared away from the album as a whole. There is nothing wrong with "Safe Home," but this track is not why I'm giving the album five skulls. Hopefully, the band will get radio play with this, but I doubt it.
"It is in many ways just another hard rock/metal platter from a veteran act. But I like this stuff!" The next tune, "Any Place But Here," may be my favorite song on the album. The song is a perfect platform for everything Bush does right vocally and sounds amazing. Tracks like this one are the reason I'm giving this album five skulls, if you know what I mean. "Nobody Knows Anything," rocks too. "Strapping On My Old School" features cool "back in the day" type lyrics and a guitar solo from Pantera's Dimebag Darrell, complete with a subtle "homage" to Judas Priest's "Love Bites" at the end of the track. "Black Dahlia" has the album's thrashiest/heaviest moments, and features almost blast-beat level Benante drumming. Overall, the track remains just this side of what most Metal Judgment readers will think of as "extreme," but is still really freakin' intense. Dimebag also plays guitar on the southern rock, Skynard-esque "Cadillac Rock Box," which is cool if you like that sort of thing and definitely "rocks" in the most traditional sense. "Taking the Music Back" features background vocals from Roger Daltrey of The Who, in service of a pretty cool song and what may be the second video and/or single. "Crash," "Thinking About an End," and "We've Come for You All" round out the set.
All told, I can see some people not caring about this record. It is in many ways just another hard rock/metal platter from a veteran act. But I like this stuff! And I am psyched for a new Anthrax record. Not a perfect record, but once again, the band has stayed true, crafted some honest songs that are well written and stick in my head. I enjoy listening to this album and if you've liked Anthrax in the last decade you will want to pick this one up too.
Hel's Review:
Before we talk about the new album at all, there's one pertinent question you need to ask yourself: Bush or Belladonna? If you answered Belladonna, well, give it the fuck up. If you're still hanging around wishing for a return to the days of Anthrax being the first rap metal band or whatever, then you're barking up the wrong tree. However, if you've enjoyed the Bush era, then you're going to be extremely excited for this album.
"There's a ton of great music on this album, some fun guest appearances, and even a subtle little thing or two that you can only catch if you pay attention." Personally, I've always preferred the Bush era. I think he has a great voice, and that the music the band has been creating since he joined is a excellent complement to his style. Don't get me wrong. Back in the day I loved Anthrax as much as the next metalhead. I just never really liked Joey Belladonna's voice. So when they changed vocalists it all fell into place for me.
"When it is so long between albums, you end up with expectations you never knew you had somehow not being met." So, it comes as no big surprise that I really like this record. There's a ton of great music on this album, some fun guest appearances, and even a subtle little thing or two that you can only catch if you pay attention. The performances are all first-rate, as you would expect. But then, there are some things that are not ideal. While I really like the little black metal homage that crops up in "Black Dahlia," the scream that accompanies those parts irritates me. "Cadillac Rock Box" has too much of that countrified flair for me, so I find that sort of annoying too. And the hidden track, "Shake" - is not worth even the rather short wait after the conclusion of the title track.
These are the sorts of things that keep me from utterly dancing with glee over this record. Honestly, I think much of my disquiet results from the long years of anticipation. When it is so long between albums, you end up with expectations you never knew you had somehow not being met. But, putting the rather vague notion that it's not completely perfect aside, this is truly a quality Anthrax release. It is heavy, from the heart, and completely enjoyable. Anthrax is back!
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