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I'm never sure why this album is constantly labeled as Anthrax's worst album. In my opinion, it is John Bush's best album with Anthrax, next to Sound of White Noise. True, this album, and John Bush, did take a while to grow on me. I thought Among the Living was Anthrax's last excellent album. State of Euphoria was dull, Persistence of Time was tl;dl (too long; don't listen), Sound of White Noise was okay, and Stomp 442 was just shit.
After a while of only cycling through three Anthrax albums, curiosity got the best of me and I decided to listen to the other ones. Except, once again, Stomp 442. And for a while, I thought Sound of White Noise was John Bush's only great album with Anthrax. I had no intention of ever listening to Stomp 442 in its entirety.
Until one day, "Riding Shotgun" came on while I was asleep. I woke up right when it started and listened thoroughly. I was impressed by Scott Ian and Dimebag Darrell's guitar playing, and was even more impressed at Frank Bello and Charlie Benante. And then came John Bush, who I was still warming up to. And this album broke, or should I say, fucking destroyed the ice.
While not as "friendly" as Sound of White Noise, Stomp 442 is just as heavy, if not heavier. Stomp 442 is much more experimental than "Sound O' " and seems to be a logical step forward for Anthrax, with Dan Spitz having left the band after Sound O'.
To wrap up, I thought this album is Anthrax's most underrated album to date. It proves Anthrax can do just fine without their traditional sound, Joey, and Dan Spitz. It starts off strong with the five tracks, but really falls short after "In a Zone". Recommended tracks include "Random Acts of Senseless Violence", "Fueled", "King Size", and "Riding Shotgun". Although I wouldn't hang it as high as I would Sound O', it's definitely a fun one to listen to and a nice album to own.
It can be plainly stated that although Anthrax lost most of their viability when Joey Belladonna was out of the picture, that the band didn’t completely die until they lost Dan Spitz and the subsequent release of this utter travesty. At this point basically anything that even resembles the good aspects of grunge and hard rock were ejected from their sound and what is left is probably the blandest and most redundant pile of groove feces possible while still just barely missing all out Mallcore territory. The Limp Bizkit tendencies are definitely here, but it still retains just enough elements of the early 90s Pantera sound to qualify as Metal in some respects.
There are actually two aspects of this album that make it superior, in a relative sense, than “Sound Of White Noise”. The first is that the guitar tone has been cleaned up a bit so as not to sound like the mud butt soaked mess that was present before, resulting in a sound that is somewhat closer to what was heard on “Persistence Of Time”, though the boring as hell guitar grooves that are being used do not bring it anywhere near being enjoyable. The second being that Dimebag Darrel has been tapped to fill Spitz’s shoes, and being the crazed fret board blazer that he is, actually upstages his predecessor in the technical department.
Make no mistake though, what is heard on here is absolute garbage, albeit fairly well sugarcoated garbage when you account for the production quality and the improved guitar sound. Picture two nice big pieces of savory cheesecake floating in a toilet full of runny excrement and you’ll have what these positive elements amount to. Each one of these songs is an exercise in sheer droning, repetitive boredom with really annoying Scott Weiland meets Fred Durst vocals. Sometimes the grooves are semi-tolerable like in the case of “Fueled” and “In A Zone”, and at other times they throw in some really ear piercing high end dissonant guitar noise like in “Drop The Ball” and “Riding Shotgun” which grates in a way that makes some of the crap on “Through The Ashes Of Empires” sound pleasant by comparison.
One thing that can be said about this album which pretty well separates it from a lot of others by Anthrax’s half-thrash contemporaries is that it’s consistent. There isn’t really a whole lot that separates one song from the next in terms of quality, baring the incorporation or removal of certain annoying guitar and vocal effects. One exception is the famed radio oriented single “Nothing”, which drops the groove metal and hard core influences for an even duller and lamer brand of pseudo-heavy alternative rock. Picture something by Eve 6 or Sponge and then throw in a little lead guitar slot and you’ve got it. The other exception is “Bare”, which actually comes off as a joke considering that it’s a poorly sung rehash of what Gin Blossoms had been doing on their acoustic music for a couple years on an album populated with bad mallcore.
If you wanted to point to a single song on here that really stands out as being good in any respect, the winner would be “In A Zone”, which ventures the closest towards the “Sound Of White Noise” character of sound. The chorus riff actually sounds pretty similar to the interlude riff heard after the guitar solo on Guns N’ Roses “Welcome To The Jungle”, while the rest of it sounds like a fairly consistent worship session of Alice In Chains’ “Dirt”. Bush’s vocals are also free of most of that really grating quasi-rapped version of vocalizing that dominates this style of music.
No self-respecting thrash band would put out something like this at all, let alone put it out and then complain in interviews later on that your labels wanted nothing to do with you because you’re an old thrash metal band, because this is not thrash metal. In fact, most of it isn’t even heavy metal if you’re relying on standards of the genre aside from heaviness, which would qualify every single nu-metal band for the category. If you liked any of Anthrax’s previous works, including the lackluster “Sound Of White Noise”, avoid this like crazy. There are better things to do with your time, like analyzing the ass end of a cow with a really bad case of gas.
Originally submitted to (www.metal-observer.com) on February 28, 2009.
People love to hit a band while they're down. Sometimes they deserve the onslaught of criticisms, such as in the case of Metallica's infamous failure with St. Anger. Other times the critics are just opposed to change and judge the new style accordingly. This distinction is the reason that an album cannot be judged on bad press alone. One must actually hear the bullshit for themselves before they can be assured that they could not possibly grow to enjoy it. It is precisely for this reason that I obtained Anthrax's Stomp 442, even after immensely disliking their previous album Sound of White Noise. Stakes were high, but I might not hate it at best and I'd only be wasting a few minutes of my life at worst. And you know what, the critics were pretty damn right. This blows hard.
Whoever thinks that Anthrax was still a metal band at this point in their career has lost their ability to distinguish heavy metal from modern hard rock. Whereas Sound of White Noise maintained a pretty heavy grunge vibe, this exudes Foo Fighters and mainstream Soundgarden. There's also an occasional (but noticible) attempt at putting forth a Pantera-esque aggro sound, but it fails completely. This is limp-dicked late 90's radio rock covered in a thin, crunchy, tough-guy exterior and to suggest otherwise is absolutely preposterous.
It'd be easy to jump on the bandwagon of blaming John Bush as the reason all the albums he's on suck ass, but he's only providing the vocals. Even if he was the worst vocalist/lyricist on the planet, there would have to be a horde of fundamental flaws in the instrumental performances to allow an album to be as piss poor as this album is. Who to blame? Probably Scott Ian. [UPDATE 11/20/07: It has come to my attention that it was actually beloved drummer Charlie Benante who wrote all of the horrendous riffing on this album, not Scott Ian (I had heard a rumor that such was true, but had no proof. Thanks to Durandal1717 for confirming it). So do I owe Scotty an apology? No, because he still agreed to record Charlie's shitty material rather than write his own.] As the only guitarist left in the band, the riffing is all on him. Rather than attempting to write anything remotely thrashy, he sticks to shitty groove riffs (the kind that were exhausted by Pantera and Prong years earlier) and generic chord progressions designed to highlight Bush's vocals, as tough and menacing as they are(n't). Seriously, John Bush sounds about as intimidating on here as Zakk Wylde is on his solo album. But it's made all the worse by a noticible lack of quality riffage and an abundance of shitty guitar effects. His lead work also fails, serving as a fine example of predictable textbook hard rock guitar solos. I can't hear Frank Bello anywhere on here, so I'm going to assume he's just following the guitar and allowing himself to be mixed out, the acceptable norm for bassists of the 90's. Charlie Benante is still pulling his weight, providing as much of a backbone to this garbage as he possibly can, but his efforts are in vain, as all the fantastic double-pedal stomping in the world couldn't make this palatable.
By the second song on here, you'll have a pretty good idea of how the album is going to sound from beginning to end. "Random Acts of Senseless Violence" with its poorly thought out title and "Fueled" with its lackluster rehashing of the former's structure. Most of the song on here stick to this format: predictable song formats, embarrasing downtuned riffage, angry (but unintimidating) lyrics and vocals, and a general lack of balls. John Bush provides a saving grace at points, because if you listen closely, you can hear him actually warning the listener of how much this fucking sucks.
"Two steps forward
one hundred steps back
we're going the wrong way.
It's backwards, it's backwards
Cuffed and branded
I can't stand it."
Holy shit! John Bush was forced to sing on an atrocious album that he figured would ruin his reputation, so he managed to squeeze this little acknowledgment into "Riding Shotgun" to wash his hands of the whole thing. At least that's how I look at it. "In a Zone" is the only song on here that is borderline metal, but it's Pantera worship at best. This is followed by more radio-friendly bullshit that the radio never bothered to play. "Nothing" is a perfect example of what is wrong with this band. They wanted to appeal to the masses, only to find that the masses are fickle, leaving only old-school fans to disappoint. "American Pompeii" is kind of heavy, but reeks of the same mainstreamisms. Then we get some half-groove half-numetal with "Drop the Ball" along with another admission of guilt by Bush. Yes, John, you guys dropped the ball with this one. "Tester" is another generic number and is entirely forgettable.
But all of these bullshit songs climax with the last song, "Bare." Hey Anthrax, nice fucking ballad, hypocrites. It picks up near the end with one of those rejected Zakk Wylde-esque groove riffs (with the acoustic and electric guitars doing the same thing), but that isn't really any better. Besides it's the principle of the whole thing that cements this as fecal matter.
Finally, for those of us unfortunate enough to have the rerelease, we get treated to some bonus songs. For a quick summary of the quality of these tracks, replace "treated to" with "assraped by" and you'll have a fairly appropriate idea of their merit. "Grunt and Click" is as dumb as it sounds, another filler that deserved not to make it onto the album (just as many of the songs that did make the album didn't deserve to be there). Then a hideous Celtic Frost cover that the Anthrax of the 90's should have just left alone. Not sure who did the original "Celebrated Summer," but this version is lame, so enough said. And of course, every shitty album cannot end without a Kiss cover. (Okay so Hammerfall's Crimson Thunder is the only other album I know that ends that way, that album sucks too.) "Watchin' You" sucks as hard as the original, Anthrax finally doing a song justice for once. Think Blue Oyster Cult had an annoying cowbell sound? Just listen to this track and be convinced otherwise.
I love Fistful of Metal. I love Spreading the Disease. I fucking hate this. I definitely jumped the gun declaring Sound of White Noise as Anthrax's worst album, so I'm not going to do it again until I've listened to the ones that follow this. This is bad, but clearly Anthrax are capable of pushing their boundaries far below what anyone would expect of them. As long as Scott Ian is on his groove-core high, Anthrax is dead. The critics were right. Judge this accordingly.
As the majority of the main american Thrash acts slipped into the different style of 90's Thrashing, so did Anthrax, beginning with 1993's "Sound of White Noise." Stomp 442 isn't at all a bad album, it's just not up to par with their original material, as is usually the case.
Charlie's drumming didn't particularly blow me away on this one. It wasn't bad, pretty solid, but it was just a bunch of modern-rockish beats that any one of a million drummers could have done just as well.
Let's do the riffs and songs all in one swoop. As was to be expected, 'thrax ditched their fast-picking again and went deeper into the slowly, more groove-based, mainstream rifing of the 'Sound of...' record. That being said, the songs themselves were obviously geared more toward a 90's radio audience, with almost all of them coming in at a convenient 3:30-4:00 minutes.
There's not too much to say about this one. It's what you would expect from a 90's Thrasher. All in all, it's not bad, just kinda predictable and bland and makes you kinda wish they had stuck to their style. It's still a fun, mindless listen now and then, though
After the jaw-dropping changes displayed on The Sound Of White Noise Anthrax came out with Stomp 442 which merely succeeded in proving that Anthrax were prepared to tarnish their legacy and sacrifice not only musical quality but their relationship with their fans all in the hope of appealing to the fickle record buying public and readers of Kerrang!.
Following the blueprint of the albums predecessor basically all the remnants of speed metal in Anthrax's sound have been replaced by totally non-threatening, cheerful pussy groove/half thrash with elements of mallcore, right down to Bush's fucked up rap style delivery. It's not surprising to discover that Dimebag Darrell helped Anthrax out on the recording after the departure of long time guitarist Dan Spitz (clearly one of the smartest men in the world of metal) because this seriously sounds like Pantera all went to the dentist and got loaded up on happy gas, listened to Faith No More and Red Hot Chilli Peppers on the way home and then went to the studio and recorded an album. We all know about Anthrax's fondness for rap even when they were thrashers but atleast back then it was left to novelty songs, here it's starting to get a little disturbing.
The first two songs (Random Acts of Senseless Violence and Fueled) are probably the best this album has to offer but that's not really saying much as they are probably not even worthy of downloading, while the end of album ballad Bare is as awful as reported but in hindshight probably should have been the title track because bare pretty much sums up the entire album. However if for some reason you enjoy those first two tracks the chances are you'll dig the rest of the album because it all sounds strikingly similar from start to finish, so I suppose if you are a fan of consistent mediocrity this could be the album for you.
Lacking the shock value of The Sound Of White Noise this is a much blander effort with a total lack of inspiration in both the performances and the songwriting and rightfully placed Anthrax firmly amongst the also-rans. In an age where grunge wannabes were still flooding the airwaves and nu-metal was just beginning to rear it's ugly head this was little more than the musical equivalent of a cyanide capsule to a genre that was seemingly breathing it's last breath. After the release of this album Anthrax left their label due to a lack of promotion for Stomp 442, yet no level of hype could have made this a success. Completely forgettable.
Anthrax certainly made an interesting step after the alarmingly brilliant "Sound of White Noise" release. This compact hardcore-meets-Anthrax mix certainly entertains but is lacking in much of the brilliance the predating album possessed. The production is about the same, (despite the bands protests to the opposite) the performances are also in line with the previous - the only weak link is the songwriting. Be it the label politics distracting them, or the unsure nature of a new line-up...the band dropped the ball in coming with a consistantly brilliant album in the same vibe of "Sound of White Noise".
Despite this drop in overall quality, the album still manages a few fun driving tunes that any fan of Bush-era Anthrax will want to own. The opening grind of "Random Acts of Senseless Violence" and the ultra-catchy "Nothing" stand out as great middle-of-the-road of modern metal tunes. "Riding Shotgun" and "Fueled" also have some classy Pantera-wannable riff-hooks as well. The rest goes from good to pointless, the band can claim they've stepped up lyrically but it matters little when the songs are only half-baked all around.
Anthrax burrow on with some great moments and some poor. Sadly, the band never recaptured the brilliance of "Sound of White Noise" and this record seems to function as the "lost child" of the Anthrax catalog.
Contrary to what many believe, I feel this is a very good effort from Anthrax that is a step above Sound of White Noise.
Their sound has definately changed a lot since the thrash days. Here they rely more on vocal melodies and commercial sounds, but the riffs are still important enough to keep things from faltering, unlike on their later efforts. The guitar uses drop D tuning that combines with a good production to give the guitars a somewhat modern, heavy effect, but that effect is not over the top.
Highlights of the album include the first 3 tracks ("Random Acts of Senseless Violence", "Fueled", and "King Size"), "Nothing", and "Bare". Unlike most albums in which the strongest material is centered at the beginning, this album never feels like it drops off too much, which is a testament to its strength. "Nothing" relies heavily on vocal melodies, but in this case it just fucking works. "Bare" is a very interesting track. It is a ballad, and I very rarely consider a ballad to be one of the better tracks on an album, but I really enjoy this song. It is quite different from a normal ballad and sounds nothing like Anthrax have ever done, before or after Stomp 442.
I wouldn't consider anything on this album to be bad. The worst song is probably "In a Zone", but it is just kind of boring, and there is nothing especially wrong with it. Another drop in quality can be found in the pseudo-thrash break/middle section of "American Pompeii". For some reason, the pseudo-thrash break in "Drop the Ball" is quite a bit better.
This is a consistent, original, and interesting album from Anthrax. It is not very similar to anything they (or any other bands for that matter) have ever done. The only thing keeping this album from receiving a very high rating is the lack of any truly amazing tracks.