Crashdïet's 'Rust' - Album Review

During the Scandinavian sleaze revival that took place towards the end of the 2000s and the beginning of the 2010s, there were few bands more important than Sweden's Crashdïet. During this time there were a lot of bands, mostly from Sweden but there were also some from Finland, who sought to bring back the sights and sounds of Hollywood's Sunset Strip during the 1980s. The glam metal movement that emanated from America, which lasted throughout the entire 1980s and spilled over into the early 1990s, was - for some - a case of style over substance. It was a time where a band's image became all the more important, and some bands became more well-known for their off-stage debauchery than their music. That being said, the scene did manage to spawn a lot of memorable bands - some of which I still listen to regularly. The glam metal genre is not known for its innovators or its virtuosos, with some bands being made up of average-at-best musicians, but there were still plenty of glam bands that had a knack for writing great songs. I used to be a big fan of glam metal, and I still enjoy the genre, but I certainly do not listen to it anywhere near as much as I once did. Crashdïet are one of the bands that I reach for the most however, often over many of the original 1980s big-hitters, but the last few years have been extremely quiet for the band. The core of Crashdïet has been around since 2003, with guitarist Martin Sweet, bassist Peter London, and drummer Eric Young sticking together through thick and thin, but the band have always had trouble finding a vocalist to truly commit to the band following the tragic suicide of original frontman Dave Lepard in 2006, not too long after the release of their debut album Rest in Sleaze the previous year. H. Olliver Twisted (now better known as Olli Herman) was in the band for a year or so and contributed to 2007's The Unattractive Revolution, but he soon left to concentrate on Reckless Love - a band with which he has since found success. Replacing Twisted was Simon Cruz, who stuck around for six or so years and performed on both 2010's Generation Wild and 2013's The Savage Playground (which was one of the first albums be reviewed on this blog, and can be found here), but he left the band part-way through a Japanese tour in 2015. The band seemed to finally find some stability with Cruz, but after he left all went quiet for a good couple of years. I assumed that Crashdïet were over, but then in December 2017 the band announced that they had recruited singer Gabriel Keyes and had started working on new material. Sporadic live appearances and a couple of singles followed, but the big news was the announcement of the band's fifth album Rust, which was finally released last month. The sleaze revival has largely ground to a halt in the five years that passed between The Savage Playground and Rust, so I wondered what the Crashdïet of 2019 would sound like. It turns out the answer is 'the same' however, as Rust is made up of eleven hard-hitting sleaze anthems that would have filled clubs earlier in the decade - which will certainly please those who have been waiting a number of years for the band to become active again.

The album kicks off with the hard-hitting title track, which anyone who has ever enjoyed a Crashdïet album in the past will immediately be able to latch onto. There has not been a big shake-up of the band's sound between The Savage Playground and Rust, with teased hair and make-up still being the order of the day. There is very little fanfare to be found here either, as London kicks things off with a rumbling, precise bassline before Sweet joins in with tough bluesy riff that drives the song from the off. This is certainly a song that could have easily sit on Generation Wild nine years ago, from the poppy anthemic chorus right down to the big power chords from Sweet that have always been a big part of his writing style. Keyes introduces himself well here too and, while I do not think he has as much attitude or grit as Cruz, he has seamlessly integrated himself into the band. The verses here are somewhat tough, with the aforementioned big chords punctuating the vocal lines, but the chorus takes on a much poppier feel with the addition of melodic synths and big vocal harmonies. It is a song that screams the return of the band, and really sets the tone for the rest of the album to come. Into the Wild segues perfectly from the previous track, with an a cappella vocal intro that screams 1980s hair metal and a tough riff that sees Young shaking the ground with his booming double bass drums. Despite their poppy, accessible sound Crashdïet have always been deceivingly heavy - especially from Generation Wild onward. The Savage Playground experimented with tougher bluesier arrangements that had only previously been flirted with at times, as Rust also does, but this album also really emphasises soaring vocal melodies and choruses again in a big way - with Into the Wild sporting a sugary chorus despite the heavy riffing found elsewhere. It is another strong track, and helps to contribute to a powerful one-two punch to open the album with. Idiots is more of a hard rocking piece, with a snaking opening guitar riff and a solid, mid-tempo drum beat. The flashier elements of the band's sound have been stripped back somewhat here, and the song echoes the tougher sound forged on The Savage Playground. Subtle synths and vocal harmonies can be found during the song's simple chorus, but this is a song that is mostly characterised by heavy riffing and a simpler arrangement. It allows Keyes to show a tougher side to his voice as a result, and a lengthy Sweet guitar solo is also included. In the Maze opens up slower, with some effects-heavy clean guitar melodies, but soon builds up around a slower drum beat and a drone of chords. While not exactly a true ballad, this is certainly a slower, more emotionally-charged piece than the three opening songs. The verses see the clean guitar intro return in a slightly beefed-up form, while the choruses ramp up somewhat with Keyes laying down some impressive lengthy vocal notes with subtle harmonies to boost his talents. In my opinion Keyes is better-suited to singing the band's poppier material, and his voice really shines here. He does fine on tracks like Idiots, but on this track and the opening Rust he displays his impressive vocal skills in a more natural way.

We Are The Legion was the first song that the band released with Keyes back in 2017, so unsurprisingly it is a classic-sounding Crashdïet track and was a song that ushered in the band's new era with excitement a couple of years ago. It is quite similar to the album's title track in that it mixes Sweet's heavy riffing style with the sugary melodies and aesthetic that the band have really become known for. It is this mix that has helped Crashdïet to become one of the best modern glam bands in my opinion, and the formula is on display perfectly throughout We Are The Legion. The chorus is a really anthemic one, and is is one that really sticks after only a couple of listens. It is clearly a song that the band wrote to be played live, and I can see it becoming a real setlist staple going forward, with its anthemic message and soaring chorus - as well as a couple of chances for Sweet to really shine with some excellent solo spots. Glam metal has always had an injection of punk in its sound, and Crazy shows that Crashdïet love to also up the energy, while still maintaining a pop streak. Much of the song is faster than the vast majority of the album, with Sweet's riffing and Young's drumming really driving everything forward, but by the time the chorus is reached the band's taste for a strong melody really shines through again. Many of the vocal harmonies used throughout the album have a certain Del Leppard-esque quality to them, and the chorus here is one of the most Def Leppard-esque moments here for me. The Sheffield band have certainly been an influence on Crashdïet, and hearing some really sugary melodies in a tough, punky rocker always makes for a fun listen. Parasite is heavier, and is another track that sounds like it could have come from the The Savage Playground sessions. Much of the song is backed by some buzzsaw guitar riffing from Sweet, and the strutting Cocaine Cowboys could certainly be seen as a touchstone here. There are still strong melodies to be found throughout however, although the harmonies and synths have been toned down a fair bit to fit in with the tougher overall feel. Instead of sugary harmonies, the backing vocals have more of a melodic gang vocal style which is a bit different, but it really helps the song's power to hit home. This is another chorus that is built to be heard live, and the guitar solo here is one of Sweet's best in my opinion - it really soars with tasteful phrasing. Waiting for Your Love slows things down, and acts as the album's sole true ballad with some piano courtesy of Eric Bazilian (The Hooters) - who co-wrote the song as well as a few others on the album. The band have done ballads in the past, but this is quite different to what has come previously. It is one of the most 'down' sounding tracks in the band's catalogue, and has a sound different to the band's usual style. The addition of the piano throughout adds some depth, and the staccato rhythms that are utilised during the verses - with London and Young locking in for some punchy stabs - creates a strange energy despite the song's overall tempo and mood. A screaming, yet calm solo from Sweet is the icing on the cake; and helps to complete what is a strange yet interesting song.

Reptile was another early single that was released back in January of this year, and it was the song that really made me sit up and take notice of the band again. It is a song that really comes roaring out of the blocks with a fast-paced heavy riff from Sweet, and a chorus that is packed full of energy and high notes from Keyes. There are a few times throughout the album where Keyes unleashes some high-pitched screams, but the chorus of Reptile might contain his best vocals in that regard. He really lets rip here and the subtle harmonies only help him to sound more powerful and strident. I loved the song from first listen back in January, and it is still one of the album's best songs in my opinion - despite some tough competition. To me it says that Crashdïet are always at their best when they toughen things up a little bit, and the balance between heaviness and poppy melodies is perfectly struck. Stop Weirding Me Out, which was co-written by Conny Bloom (Electric Boys; Hanoi Rocks), is an odd tune that is probably my least favourite cut on the album. It is not exactly a bad song, and still contains some good punky energy - especially during the verses - but the chorus is a bit weak in my opinion and lacks the cutting edge found elsewhere. It just sounds a bit tame compared to what has come before, and the silly lyrics do not really help either. Few albums are perfect however, and for Rust to only have one real misstep is certainly nothing to be ashamed of. The album's final track, Filth & Flowers, opens with some acoustic guitar lines; but this lulls the listener into a false sense of security before another meaty riff kicks in which then drives the rest of the piece. The punky attitude is back here in a big way, and the chorus is another moment that is instantly-memorable. Gang vocals are fairly rare throughout this album, with soaring vocal harmonies often the preferred chorus accompaniment, but the shouts here certainly make the listener sit up and take notice. Some bands go for a big closing statement on their albums, but Crashdïet have opted to put one of the simplest and in-your-face tracks at the end of Rust. They tried going big at the end of The Savage Playground, which worked to an extent, but I think the approach taken here is a more effective one. Crashdïet are not a band to write lengthy, complex pieces, so ending the album on a punky shot of energy certainly makes more sense, and Filth & Flowers is sure to ring a few heads before the album finishes playing. Overall, Rust is a great comeback album from Crashdïet and one that proves there is still plenty of space in the world for some good quality Scandinavian sleaze. I feared that the band were over after the departure of Cruz and the long radio silence, but it seems that they are back once again and mean business. I hope that Crashdïet can finally settle down with a line-up for the long-term, and that stability and success is theirs once more.

The album was released on 13th September 2019 via Frontiers Records. Below is the band's promotional video for Rust.