Rebirth? Pray! What Doesn't Die - This one starts with a staccato guitar section before going into an uptempo verse reminiscent of some of their early work (Be All, End All in particular) before descending into a slow funky chorus. Radio oriented songs like these are not inherently awful ('Only' and 'Black Lodge' were excellent singles, for instance) but this is just bad. It's a simple groove/heavy metal song, but its chorus is an ultra-catchy fist-raiser that brings the album to a rousing close. What the fuck - is this an advertisement for the people like me that have only the mp3s? The song starts out with a pulsating midtempo section which moves along nicely, until out of nowhere it morphs temporarily into a grindcore-esque section punctuated with blastbeats and tremolo-picked riffing before returning to the midtempo feel of the previous section. Off Cuts Two great songs and one other decent rocker is an appalling hit rate in album with 12 full length songs. In general the band was just fucking awful during this time period, similar to Maiden sucking dick during the Bailey era. Anthrax - We've Come For You All (Nuclear Blast, 2003) After upsetting the internet a couple of days ago with a comment about thrash metal being a fad in a blog about Green Day , I felt it best to clarify what was meant. That is not how to do a verse passage. For! And that, unlike “this album really fucking blows,” is hard to say. "What Doesn't Die" is not only a tremendous opening track, but it was also a harbinger of things to come. It is unintelligent and very cheesy, even for this album. Songs to check out: What Doesn't Die, Safe Home, W.C.F.Y.A. Given these circumstances, one might have thought that Anthrax would sneak back onto the scene quietly. Blood or One Man Stands, this is not. What the fucking shitweasel, Batman?? We've Come for You All received positive reviews upon release, with About.com crediting it for "getting the band back on track". A failure, just like that other joke, 'Cadillac Rock Box', a very generic rock tune which goes in one ear and out the other. Scott Ian and Charlie Benante play the rest of the solos and while Benante is STILL a better lead guitarist than Ian even after all these years (he had the better solos on "Speak English or Die" also), but neither are able to do anything especially interesting as far as leads go. ンガーをメインに、ANTHRAXなりのメタルが一つのスタイルとして More turmoil followed, with the departure of longtime touring guitarist Paul Crook (quite possibly frustrated with never being asked to join as a full-time member), the Maximum Rock And Roll tour fiasco, and the public outcry over their name due to the anthrax scare (in which they apparently temporarily changed their name to Basket Full Of Puppies). Check out that really dumb vocals-driven verse passage. Choice Cuts First song... What Doesn't Die. Once one gets past the fact that this isn't a thrash album, (I had high hopes for "W.C.F.Y.A." There's a good song here, too bad someone sabotaged the final production version. But it's still no return to form. What a schizophrenic little song. It probably was their label and such who did that. There’s lots of distorted vocals and uninspired clean riffs too, because these are things that the mallcore crowd enjoys. It’s probably just a case of whichever album you’ve had to suffer through most recently. A few of his rhythm tricks show up in areas, such as the blastbeat sections of Black Dahlia and some areas of What Doesn't Die, but for the most part he favours a pulsating down-picked rhythm. When I listened this time, I was able to appreciate "We've Come For You All" a bit more. Loftus concluded that We've Come for You All was the definitive thrash metal album, released in a period when albums from that genre were not common. From start to finish, this album combines mega-crunching riffs and percussion, perfect vocals, great lyrics, a nice array of tracks, premium guest appearances, and superior production. Black Dahlia - This one seems more than a little out of place here, but is quite enjoyable if you like blastbeats. Every band has like seven "return to form" albums that aren't quite returns to form. It’s a very short song that features a really driven verse section and a very intense interlude. Have people completely forgotten what numetal sounds like, or are they just unwilling to admit it when one of their beloved acts starts playing it? Hah, fucking hah! For most of the faster pace songs the bass lines completely meld in with the guitars or drums but at other times it's a main focus point for the song as a whole. Again, more detail to the songs would be good, but as said before your style of writing is good. None of it is too spectacular in the guitar area but none of it is bad either. Also, no matter what your opinion on the album is, the cover by Alex Ross rules. Album Rating: 2.5 | Sound OffLOL, I accidentally put Spitz in the roster. These once-mighty metal legends had succumbed to bland songs (Stomp 442), stylistic confusion (Volume 8) and a long list of professional and personal setbacks, so you can imagine the reaction when the band dropped "What Doesn't Die" like a thrash warhead on an army of fans who expected a potato gun. It was released on May 6, 2003 through Nuclear Blast in Europe and Sanctuary Records in North America. Sounds like a good thing to think about, because here's yet another vocals-driven shit passage, with the guitars barely there and playing an eminently forgettable riff. It brings to mind 'Potters Field' with the high speed pounding from Charlie. We’ve Come For You All is the ninth Anthrax studio album and it is just as utterly terrible as one might expect by their late 90’s offerings. Safe Home - Seems to be the closest thing to a ballad that I've ever heard out of Anthrax, and it features a tightly played verse section from Ian, and a chorus that shows off John Bush's vocal talents. Not as good as Black Lodge but much better than Harms Way and especially the guitars during the middle section are sheer beauty! Good drive, catchy enough chorus. It's a beautiful mainstream metal song with a soaring, heartfelt chorus from John Bush, who sounds far more interested and engaged on this album. Rated #1227 in the best albums of 2003. Think about an End. However, this album sees a small incorporation of their older thrash-style, most notably in Charlie Benante's drumming. There aren’t any highlights to albums like this, but how about some lowlights? But did they actually promise that? in the US. The only debatable quality to the album is as to whether or not it’s really worse than Stomp 442 and Volume 8. album needed to come eventually. Album Rating: 2.0He sounds okay on a few songs, such as Only. Anthrax – We’ve Come For You All Review Old Guard on April 14, 2003 Originally written by Gregory Bradley. At least it builds up to a nice pre-chorus and an acceptable chorus. There are some great melodic (sometimes acoustic) passages too - including the intro to "Any Place But Here" that give the album something for everyone. Closing Comments Things pick back up with "Safe Home," which was the album's big single. Some cool riffs, and at times there is a nice headbanging groove, but the chorus just fucking sucks - especially the guitar tone underneath it, and John's horrible articulation. The Cast Bring back the riff. It’s post-thrash or groove metal or whatever you want to call it, but these are some good songs simply because the band does deliver in the riff and performance departments. All questions pertaining to Anthrax’s ability to rock are answered right up front. You're getting better. Bring back the Jesusboy watchmaker, I say! ‘Superhero’ has that violent-video-game kind of catchy riffing with a stompin’ midpaced drive and the main riff from 'Any Place But Here' could have come straight from Metallica’s black album or even Load, thus being very catchy and nineties-proof. I went through several LPs now from different Sellers and all … 'Superhero', 'Strap It On' and especially 'Taking the Music Back' are a few examples of the bulk of this album's material. Anthrax - We've Come for You All review: The last Bush album isn't horrible. We’ve Come For You All, Anthrax’s seventeenth album, might just be their heaviest to date. "Contact/What Doesn't Die" greets us first, with the stutter riffing in the beginning of "What Doesn't Die" being very good. But hey, the chorus actually kinda works. The overall feel is quite bass-heavy, due to the detuned guitars and a good bass presence. And if fifty minutes of aural torment is not enough, some versions have bonus tracks… Their change from thrash metal to a more straightforward plain metal sound hasn't gone over well with fans of Anthrax. [X3] Someone spliced in some pure noise!! It's like someone decided to have a practical joke at the band's expense and spliced in random segments because that section just doesn't make any sense - not in the context of the verses or the chorus. However, a lack of Dimebag Darrell, the guitar tone, and the vocal performance of most alt rock bands of time, prevent this from sounding like the better moments of said preceding album. Sorry. Then an okay riff, but the whole thing gives me a vibe of Black Crowes or something similar. It kicks off—in a literal sense—with some double bass from Charlie Benante and a start/stop riff before launching into a completely unexpected thrash tirade. “Taking the Music Back” has that Puddle of Mudd chorus, while “Think About An End” wins the “most ironic title” award. We’ve Come For You All is nothing short of stellar. Hmm, this is such a cheesy song, but why does it work so well for the first few seconds? The drums are again way too loud under the verses, the guitars not doing anything worthwhile, and the vocals are left to carry the song. Again, there is nothing overtly spectacular on this album. As stated earlier, many of these songs have overly loud vocals that drown out the guitars too, when the drums aren't doing the same. This is not the Anthrax from 1986 and they haven't been since 1993. Production was handled by Scrap 60 (Caggiano, Eddie Wohl and Steve Regina) in conjunction with Anthrax, and the result is one of the best mixes achieved by Anthrax. The guitars sound about as muddy as said album, but of a deeper nature, and doesn't give this 90's feel I always harp on about. The best song on this recording is probably "What Doesn't Die." What the fuck in the name of all that is sacred?? Instead, their ninth album, confrontationally titled, We’ve Come For You All, is a bold, sleek and raucous slab of modern jump-teh-fukk-up segment and the boring endless repetition segment. Some cute sections that don't abjectly suck, but nothing here that totally fucking completely rules. Nach über 4 1/2 Jahren bringenAnthrax endlich ihre neue Scheibe … His lead style seems rather conventional, as seen on Nobody Knows Anything and What Doesn't Die. Spreading the Disease this is not. The drum parts on We've Come For You All represent some of the best variety in an album I've heard. The overall verdict - boring as fuck. This also features another lead from Caggiano (bringing up the total lead count to 3 so far). ANTHRAX have set We've Come For You All All as the title of their forthcoming ninth studio CD, which is scheduled to surface this summer through Nuclear Blast Records in Europe and Sanctuary Records in the US. Songs to check out: What Doesn't Die, Superhero, Nobody Knows Anything. So it's not a complete loser - but almost. Not as good as the openers on Sound Of White Noise nor Volume8, but very good indeed. But hey, the chorus is, ironically enough, the best part of the song. Crash. Ah well... can't win 'em all. Title Length1. It is still great nonetheless, a highlight of the Bush era and Anthrax in general. The strong opener ‘What Doesn’t Die’ is heavy. "What Doesn't Die" 4:103. Catchy riffs, a big chorus, a trademark Anthrax mosh section...with all due respect to Sound of White Noise, this would've been a great sound to transition between the Belladonna and Bush eras. A lot of catchy guitar work that I'm sure works very well in a live setting. Give me the new Overkill any day - they're the first, and at this rate, they'll be the last..... Anthrax has gone by the wayside. This is because my expectations for this album were different. While this is more captivating than Stomp 442, not sounding as forced, 'samey' and at least with some true highlights, this is still one of Anthrax's worst. Also, the chorus is again a total miss. They are about as close to the nu as Anthrax have gotten (at the time of writing this- given the past this lineup could break up any day). Anthrax sound and a more aggressive approach to the music. Then the part under the vocals - more groove-stuff a la a Pantera album. Things quickly settle back into that familiar 1990s Anthrax groove, but there's a difference on We've Come for You All —its improved songwriting is largely able to compensate for its stylistic shortcomings. The U.S., Canada, South America and The whole stop - start nonsense in the former song's riffs and the effect in the background is a bit irritating, especially since said riff is decent, but these tracks are better than the nu 'metal' songs overall, for featuring actual riffs, a lack of a grating rapped vocal style, and not coughing up some awful guitar effects or other ideas from the 'modern' bag. His vocals, although not very thrash, do fit very well with the music. This is one of those albums. Even though 'Black Dahlia' is possibly the most aggressive song on the album, that black metal riff and blast speed drums make the song sound like a parody. could be State of Euphoria. But the second guitarist comes and fucks everything up with his dweebish noodling. Anthrax has had a tough time the last few years. Plus the middle section is well done, with a nice riff around 2.26 - though I think I'm not the only one that thinks it would work better if it were played at 140% speed. Here is my review of the final JB Anthrax album. ANTHRAX's new album, "We've Come For You All", will be released in Japan through JVC Records on Feb. 4, 2003 and in Europe through Nuclear Blast Records on Feb. 24. Taking the Music Back. The guitars are processed clearer than in the past, and the drums are perfectly mixed, sounding better than any of Anthrax's previous mixes. Another borderline mallcore segment, especially with the distorted yes-man backing vocals that kinda repeat certain lines only talking out of a prosthetic ass. Haven't I heard this before? In a review for Raidió Teilifís Éireann, Harry Guerin wrote that the band has preserved their sense of melody and aggr… A couple of songs could be classified as metal, but most of the material is hard rock with a metal influence. Take me back to a golden time!! Frank Bello (bass, vocals) - Frank is still continuing with his trademark style, holding down the bottom-end and locking in tight with Benante, while adding licks in here and there to keep it interesting. Review zu We've Come For You All von Anthrax. What we all received was We've Come For You All, an eclectic mix of the newer Anthrax sound and a more aggressive approach to the music. Unfortunately the middle section just drones on and the cool guitars of the intro just turn into yet another lame "solo" that goes nowhere and silly vocals, and then another slightly better solo that is still kinda crappy. … Yes, this is occasionally heavy. "Black Dahlia" has a massive bass guitar part on it that, had this been used the entire album, would have made the album soun VERY modern. They had just released 1998's Volume 8 through Ignition Records, when said label went bankrupt, which effectively left Anthrax without a label and without distribution of volume 8. This is perhaps the track that bares the most resemblance to Anthrax's early days. The chorus is non-grating, and catchy too, the former being a rarity for this album's pansy sounding nu styled choruses. The combination of the straightforward rock along with the thrash influences makes this Anthrax's strongest album in years. After a slow and building intro, Anthrax kicks the album off with “What Doesn’t Die”. Cadillac Rock Box - dumbfuck "mighty fine grooving going on on this record here" intro. It gets better around 0.52 but is still kinda mediocre. The final chorus before the middle part is better, because they throw in more lyrics - and the middle section is pretty decent. Yes, We've Come for You All is the best album Anthrax had released in a decade, but it's also a far cry from throne-reconquering efforts like For All Kings. Das Warten hat ein Ende. Album Rating: 2.5 | Sound Off@Detririvore: I have made an effort to give the Bush Era credit where it's due. Come on, come on! I'll fix that now. But because of the large amount of fillers, they still did not come close to their best effort with Bush, The Sound Of White Noise. Album Rating: 3.0No no no. That's especially disappointing considering how much better the music is when it lets loose, but looking at this album in context, the marketing was at least partially accurate. For anybody wondering, there are no collaborations with rappers, which in my opinion, is a good thing. They need a musical approximation than a pure throw of shit point of view However, they do at least sound a bit like Anthrax, and refrain from the Korn staples for their runtimes. Very forced-sounding. but he's gotta stop trying to be a weakened version of Dime Darrell. Add in the fact that it’s Anthrax at their most embarrassing and you should be petitioning your local music stores to burn all their copies of it. It helps that Dimebag Darrel (of Pantera fame) contributes a few guitar parts (including some amazing solos) to the record to help them out. Even if that promise was still a few years away from being fully delivered. Given these circumstances, one might have thought that Anthrax would sneak back onto the scene quietly. Best viewed without Internet Explorer, in 1280 x 960 resolution or higher. 2003 Anthrax Anthrax Superhero We've Come for You AllNo. While the song is cheesy, it manages to be more powerful than 'Bare', as well as not merging into a 'groove rock' song later on. And apparently Anthrax enjoys them too, because there really is a boatload of crappy gimmicks like this. And much better done on albums like Reinventing the Steel. Also, the lead guitar is crap - I have no idea who's doing the leads on this album (Charlie?) "I stand and resist!" However this is a huge step up from your other one, and you're definitely going in the right path. "Superhero" has a nice groove in the chorus, and "Refuse To Be Denied" does as well. Charlie Benante is the only member with a shred of talent and he keeps all his emphasis on his double bass technique. Anybody who was listening to heavy music is the early 00’s cannot deny the phenomenon of that…thing…they called numetal. 'Nobody Knows Anything' and especially 'Cadillac Rock Box' sound like an alternative tinged Volume 8. Well, that just leaves the production really. Guys, quit ripping off half the Machine Head catalogue, this is shit! The guitar playing is somewhat slower than the norm though. Another schizophrenic little song, with two really bad choruses. Of course, in 2003, even an album like that was a godsend coming from Anthrax. So far this is very slow, very laid back, and missing on some serious aggression. Then a far more ordinary groove riff, and we get into a fairly standard modern Anthrax number. However it does come in second place from the 1992-2003 era. Those still hoping for a return to the thrash sound of their earlier days can pretty much give up now, but if you don't mind a more hard-rock style infused with some thrash elements, then this is for you. But again, the solo fucking sucks. The main reason that this album is worth listening to is because of John Bush. The bass parts play a kind of ghost role on the album. But to those, craving something even remotely similar to the Belladonna days, stay clear. I knew that I was getting an album that was quite different from their releases from the 80s. Obviously this is far from essential, but John Bush's vocal performance makes this album worth owning, especially for those who are fans of his singing. The songs are more vocal-based, which to me isn't really a problem given John Bush's voice, with the guitars supplying a more groove-based rhythm as opposed to the ripping thrash tunes of the Belladonna era. HAGANEYA（@imech_jp）です。 2011年リリース。前作『We've Come for You All』から8年ぶりとなる通算10作目のフルアルバムであり、ナンバリング作としては1990年の 5th『Persistence of Time』以来21年ぶりに、2代目ボーカリスト Joey Belladonna さんが復活した作品です（Neil Turbin さんから数えて2代目。 The thrash metal revival was just around the corner in 2003, and in retrospect, perhaps songs like this were the seedlings. Fixed that. Just as with the two abortions that preceded it, what we get with WCFYA is another blending of the groovy psuedo-thrash of late-period Pantera (“What Doesn’t Die) with vocal-oriented numetal like Puddle of Mudd (“Safe Home”) and the alt. The songs are mostly mid-paced with simple riffs and most of the songs focusing on the vocals, especially on creating a platform for a catchy chorus. After a year or two of being banished underneath my bed to collect dust, I pulled out the album again and listened to it one last time to determine whether I should get a small return by selling the album to a local music store. ANTHRAX's "We've Come For You All" has shifted 9,819 copies in the U.S. during its first week of release to debut at No. It is the last Anthrax release prior to the band's reunion with Joey Belladonna and guitarist Dan Spitz. Album Rating: 2.0Nobody Knows Anything has to be the only song on this album worth hearing, IMO. It's not too surprising that my feelings about "We've Come For You All" after the first few listens were mainly of disappointment. Whether you love the man or hate him he presents damn catchy vocal melodies on this album. This album is essentially a continuation of their work since the arrival of John Bush. 122 on The Billboard 200 chart. Fuck, why did they wait this long to throw this in? And then the chorus drops all pretenses of metal for what is THE mallcore chorus of the album. strap it on! Almost every song is a highlight in some way, as most of the songs here are either excellent or very good. Even when it seems like things are heading for the mid-paced doldrums, there's usually a fun riff or hook to keep your finger off the skip button. Album Rating: 2.5man SOWN is nothing like this album. Rebirth of what exactly? A vocal performance that is drenched in effects and no real instruments to be heard. Okay here we go, here's an intro riff that is worthy. John Bush delivers a massive album on his part. "Contact" 1:152. Utterly fucking worthless. This song shows Benante working a basic beat and gradually building on it with some insane double bass and snare work. This album isn't exactly thrash, but it is music we all know they are capable of making. Man this band has gone so far down the shitter that they've dug a hole to China. (And seen a few.) So far, this is the best song on here, though, because after the first stupid intro verse, it doesn't stop having a continuous riff basis. "Any Place But Here" would have been a much better choice for a single because of its catchy theme and excellent chorus. This is total White Noise, and almost, almost!! We've Come for You All, an Album by Anthrax. It kinda builds up halfway through, though - and that lead guitarist finds approximately one testicle. The former in particular is oddly appealing, being a light, air-headed rocker, like a less aggressive 'Fueled' from Stomp. Contact and Crash - These two tracks are complete filler and serve no useful purpose whatsoever. In that sense, Anthrax's career renaissance really can be traced back, at least in part, to We've Come for You All. Still, though - what a boring song. 'Crash' is a pointless one minute interlude, trying to serving the same roles as 'Contact' by being atmospheric, an interlude and filler all in one. The music and rhythm is more groove based and the production is surprisingly good, considering how Anthrax is given credit as the main producers on this album. This couldn't be further from the truth; it is merely a continuation of what the band have been doing with vocalist John Bush since 1993, with Sound of White Noise. Nice waltzing on 'Refuse To Be Denied' by the way. New bands spring up all of the time, but since their albums don’t have “Limp Bizkit” or “Slipknot” plastered on the cover, it seems some people have deemed it groove metal or some other erroneous shitdick tag to mask its true nature. Best metal song here, performance wise, is 'Nobody Knows Anything', a showcase for Charlie Benante to just funk it out! Drums recorded at Bear Tracks, Suffern, NY. It can be taken two ways. Nice to have you back, guys. The riffs are still heavy and the slight distortion is still present but there are more leads and solos present on the album as a whole. Fucking shitty drums and distorted vocals. They all have sizable sections that are based upon vocals with mute, chugging guitars, with a worrying return to a rapped vocal style in some places, that puts me in mind of Stomp 442 That weird guitar noise floating upon an entirely generic chug riff in 'Superhero', this does not sound good at all, far too much like Korn, as well as being very grating on its own. Good way to kick off the album (if you don't count Contact). However, some of the range that he used in Armored Saint (which for the most part has been absent since he joined Anthrax) is employed fleetingly in Album Rating: 2.5 | Sound OffThe Worship Music review will definitely have to wait. The cover art is quite something surreal; it shows people going along with what these guys play on here! What was that? However, rather than tastefully incorporating the grunge-tinged grooves of that album, the outright groove metal of Volume 8, or not so tastefully incorporating the generic hard rock of Stomp, they have added in some modern (for the time) nu 'metal' garbage. It also features a trademark Anthrax midsection featuring one of the few leads from Caggiano, before picking up into a double-bass drenched outro. For the record, there is no thrash to be found here. They cranked the "groove" up to ungodly new levels, but they threw out the riffs in the meantime. Scott's rhythm guitar can still be quite good at times, but it is buried very badly in the mix. Upon getting past the pretty cool, if not essential, intro 'Contact' this album once again roars in with the strong opener 'What Doesn't Die'. Highlight in some way, as seen on Nobody Knows Anything and what does n't.! The mercy??, too bad someone sabotaged the final chorus also continues laying down guitar tracks he. 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