Crashdïet's 'Art of Chaos' - Album Review

When it comes to the Scandinavian sleaze revival that swept through Europe during the late 2000s and early 2010s, I think that it is fair to say that Sweden's Crashdïet were probably best in class. Whilst bands like Hardcore Superstar laid the ground work, Crashdïet's proper hair metal aesthetic and poppier edge helped them to stand out from the off - with their debut album Rest in Sleaze from 2005 likely one of the best hair metal releases since the early 1990s. Whilst clearly heavily influenced by what came before, Crashdïet's approach felt fresh during their early run - and they are still well respected in Europe despite never exactly becoming world-beaters. Despite this, though, Crashdïet's journey has never been plain sailing. Founding frontman Dave Lepard's suicide in 2006 led to a hiatus after only one album - but the band have always fought back from adversity. H. Olliver Twisted, who later returned to his own band Reckless Love under his real name Olli Herman and found success, got the ball rolling with 2007's The Unattractive Revolution, but it was arguably during the Simon Cruz era between 2009 and 2015 where the band had their busiest and most successful period. It was during Cruz's time at the helm that I got into the band and saw them live for the first couple of times - and 2010's Generation Wild is likely still my favourite Crashdïet album despite it not having the same impact as Rest in Sleaze. The band entered something of a hiatus following Cruz's departure, but in 2017 singer number four in the form of Gabriel Keyes came on board. Rust (which I reviewed here) followed in 2019, and it felt like the start of a successful new era. I also saw the band live in 2019 for the first time since 2013 - and I was really impressed by the then-new line-up. Sadly, though, Rust's follow-up, 2022's Automaton (which I reviewed here) was a bit of a strange release that never wholly felt like a Crashdïet album. It has its moments, but it is certainly not an album that I have revisited much since reviewing it - and it is likely my least favourite of the band's albums to date. Keyes then also left in 2024, and I really started to wonder why the band struggled to hold onto singers. As such, Crashdïet are now on singer number five - as John Elliot (Confess) was brought in to replace Keyes. The band have certainly felt a bit busier live over the past couple of years since Elliot joined - and they impressed again when I saw them live last year. It was time to hear what Elliot could do in the studio, then, and last month the band's seventh album Art of Chaos, the first with Elliot, dropped. More than ever, though, Art of Chaos feels like a fresh start for the band - as the Crashdïet line-up featured here is very much a new-look one. Singer changes have been common as pointed out, but the other three long-time band members had remained the same since Rest in Sleaze. Drummer Eric Young left the band in 2024 along with Keyes, although he had barely played live with them for a number of years beforehand despite writing a lot of Automaton, whilst bassist Peter London stepped back from the band last year for health reasons - after also missing some live dates. The door does seem open for London to return, but his replacement Chris Young (Midnight Danger; Lipz) has signed on for this album cycle at least - whilst regular touring substitute Michael Sweet (Lipstixx N Bulletz; ToxicRose; Sweet Creature) has joined on drums. Michael's guitarist brother Martin Sweet, then, remains the only classic-era Crashdïet member left - rounding out the new-look line-up consisting of Elliot, Martin, Chris, and Michael. Martin has essentially been responsible for all of the songwriting here, despite a couple of co-writes from producer Patrik Frisk (who also produced The Unattractive Revolution) and one from Keyes, which is fitting given that he did not seem to have as much input as usual on Automaton.

Despite the big line-up overhaul, Art of Chaos is very much Crashdïet at heart. Some of the early reports suggested a full-on return to the Rest in Sleaze sound and vibe, but I am not sure that such is true - and there are shades of all Crashdïet eras here. As such, Art of Chaos is a strong and fun album - which does get better with repeated listens despite a hooky overall approach. A 40 minute run-time helps things flow, too, and this is a punchy release as a result. It is not an album that stands on ceremony, either, with lead single Satizfaction kicking things off immediately with a hooky and melodic guitar riff that lays down a solid groove. Hooky and heavier riffs sit side-by-side, whilst the verses are much more bass-led - with percussive drumming backing Elliot's first vocal for the band. His voice is largely melodic, but there remains a gritty edge - and he suits the band well. All of the band's previous singers have brought something to Crashdïet, and it looks like Elliot will be no different - as he really comes into his own during snappy and slightly Def Leppard-inspired chorus, with sugary harmony vocals and the repurposed riff from the intro. A gang vocal-led later bridge section injects a heavier moment briefly, but largely the song is all about hooky riffs and a chorus that is sure to go down well live. Sick Enough for Me feels a bit more sleazy overall, with a snappy bass and drum groove settling in early whilst Martin lays down some melodic and cutting guitar leads to introduce the song. Like the previous song, Chris' bass is a big player during the verses. The guitars often drop away here, leaving the bass to pound away beneath Elliot's voice - with sleazy vocal harmonies increasing in power as the verses move towards the chorus. They remain during the hooky chorus, which feels tougher than the previous song's chorus, although it is one of those choruses that takes a twist half way through to push a melodic approach in a much more overt way. It is really easy to sing along with after a handful of listens - and the song feels like one of the most anthemic pieces here. More hooky guitar leads are utilised later on, before Martin throws in a busy, yet playful, guitar solo that builds on some of the hooks and sleazy vibes heard elsewhere. Chaos Magnetic goes for a bit of a heavier approach overall. Michael lays down some double bass drum patterns from the off and the riffing overall feels quite a bit tougher. Slightly discordant guitar motifs are occasionally thrown in to add accents to the main guitar riff-led moments - whilst the verses switch back and forth between a powerful bass-led sound and crunchy guitar rhythms, often backed by the aforementioned double bass drumming. This drumming approach continues throughout the chorus, too, which introduces a much sleazier and melodic sound - with more big vocal harmonies and Elliot pushing the poppier side of his voice above the crunch of the guitars. To fit in with the heavier overall feel, too, Martin lays down a much lengthier guitar solo here than is typical - with shredded melodies and a later riffy instrumental section really building on the tougher overall feel. Parts of this song remind me of the bluesier, heavier end of the Cruz era of the band - but the vocal approach is more reminiscent of the poppier end of the Crashdïet sound, meaning that Chaos Magnetic is a bit of a mix of different Crashdïet eras crashing together.

Can of Worms opens with a pretty strident mid-paced guitar riff that is packed with plenty of crunch. The guitar tone utilised throughout this album has a certainly 1980s brightness to it, but there remains a dirty crunch at the same time - and the opening riff here is a really good showcase for how the album sounds overall. The riff is really allowed to shine, too, as early on there is little behind it - although Michael soon starts to hit one of his toms in a rhythmic manner before the first verse kicks in and the band crash in. As is often the case here, the bass feels quite dominant during parts of the verses. The song is more guitar-driven overall, and there is a weight to the verses, but the bass still does a lot of heavy lifting whilst Elliot's rasping vocals add to the grit. The chorus takes a more melodic turn, though, with cleaner guitar melodies behind the sugary vocal harmonies that often characterise this album - during which Elliot delivers another pretty hooky selection of chorus vocal lines. A 1980s-style key change later impacts the last chorus, too, which is a classic move that never really seems to feel old. Loveblind is the album's ballad, with Frisk adding some piano to bulk out the sound. This piano fills out the guitar-heavy intro - and when Elliot starts to sing in more of a gentle manner clean guitar melodies, the slow-burning groove of the rhythm section, and some occasional piano motifs form the basis of the song. Despite being a hair metal band, for which ballads are often common, I have never really felt that Crashdïet excel at writing ballads. Despite many great songs in their canon, they do not really have many memorable ballads - and this one does not especially stand out much either. It is certainly not a bad song, but it lacks the big, heartfelt melodies in my opinion that really make ballads shine - although I do really like Martin's later guitar solo which is quite Slash-like in approach. The chorus has started to stick a little more now, though, following a few listens - but generally I still prefer the more hard rocking tracks here. Get Out returns more to the album's core sound, though, with some cowbell introducing a slow-moving yet somewhat anthemic riff - which sets a heavier tone before the band crash in and the song picks up the pace, somewhat speeding away. It is one of the album's more high-octane efforts, then, with hard-driving verses and a big, groovy chorus led by cowbell and some shout-along vocal melodies. The verses are packed full of energy, with a juddering main riff full of character behind Elliot's somewhat snarled vocals - whilst the attack of the bass tone really cuts through the mix nicely. The chorus is where the song really shines, though, with a really infectious groove and a call-and-response vocal style with gang vocals and big hooks. A busy instrumental section later includes plenty more energetic riffing and some melodic guitar leads - before wordless vocal melodies are also used to good effect. Quitter pulls back on the high-octane energy of the previous song to instead go for a pretty typical mid-paced sleazy sound, similar to Satizfaction. There is a good mix of gritty sleaze and Def Leppard-inspired poppy hard rock here - with lighter riffing, plenty of grooves from the rhythm section, and Elliot utilising the higher end of his vocal register to deliver a powerful, poppy approach. The verses are perhaps a bit less interesting than some of the others here, but the chorus is a real winner that does raise the pace a little - and there are hooks aplenty during it. The guitar solo is a little unusual, too, and it sounds like Martin is utilising a slide at times to create some strange noises.

Killing It Now, the one track co-written by Keyes which suggests that it is a song that has been hanging around for a while, ups the heaviness somewhat - and harks back to the Cruz era somewhat. The band generally sounded consistently heavier during Cruz's era, despite all Crashdïet albums having some heavier moments, but the riffing here feels really purposeful - which allows Elliot to really dig in vocally and deliver one of his best performances on the album. There is an urgency to the verses, which are backed with snappy riffs and another big bass presence, whilst the chorus is another with something of a call-and-response gang vocal approach - whilst Michael allows himself to throw in a few busy drum fills. The drumming during parts of this song consist of some of the album's best moments from that perspective in my opinion - whilst there is another fast-paced guitar solo section, too, which ensures that the overall energy levels are kept high. Silent Place is much more of an overtly melodic piece, with the toughness and energy of the previous song stripped away to leave a cleaner guitar sound, some precise bass melodies during the verses, and further Def Leppard-influences vocals. There is far less actual riffing here, with much of the song based around hookier guitar and bass melodies - with Elliot singing in a much cleaner overall manner. There are shades of Cheap Trick to be heard throughout parts of the song, which is certainly not unique. Sick Enough for Me also had a bit of a Cheap Trick vibe earlier on - and many of the original hair metal bands used to cite Cheap Trick as an influence. This is an easy on the ear number, then, with a hooky chorus and some of the most overtly melodic guitar playing on the album. It may lack some of the trademark bite found elsewhere, but Crashdïet have always been a very melody-focused band - with Silent Place ticking that box perfectly. The album then comes to a close with Edge of a Knife - another song which picks up the pace somewhat, going for a high-octane sleaze approach that recalls the band's first album perhaps more than any other song here. The chorus really reminds me of the band's early days approach, with a razor-sharp vocal melody that really cuts through the guitars and band toughness - creating an anthemic and poppy sound that is easy to latch onto. I like the varied approach to guitar playing here, too, which includes some faster-paced riffing that sounds a little heavier than average - alongside some busy, cleaner melodies that snap and pop away in the background of the verses. This move away from riffing during the verses allows the aforementioned chorus to hit a little harder - and this is what partly really helps the chorus melodies to stick as much as they do. This is a very melodic and memorable number, then, and it stuck with me from my first listen to the album. It has remained a favourite ever since - and it really ensures that the album ends on a big high with one of its best cuts overall. It is a real shame that every other Crashdïet album seems to find the band launching yet another new era - but they have generally managed to navigate each challenge well with hardship taken in their stride. Art of Chaos is another album that steers the good ship Crashdïet around some potentially rocky waters - and the new-look band have delivered a strong and hooky album that largely just sounds like themselves. It may not be as much of a statement of intent as the debut or Generation Wild were, but for a band that are over 20 years deep at this point there is a lot to like on this latest effort - with simple, hooky songwriting that sticks in the brain and songs with enough muscle to go down well live.

The album was released on 8th May 2026 via Ninetone Records. Below is the band's promotional video for Satizfaction.