Glenn Danzig, one of the most influential, and enigmatic, musicians of the last 40 years. Between giving birth to the Horror Punk genre with The Misfits, and carving his own legendary path with his solo band, Danzig, he fronted a lesser know, but still equally important band, Samhain. Samhain was a departure from the frantic, unproduced sound of The Misfits, and brought in the beginnings of what would become the signature Danzig sound of the first four albums.
What we have here are 13, an appropriate number, tributes to such an underappreciated band. This album is titled, “We All Want Our Time In Hell.”
First up, we have Joel Grind, with his interpretation of the instrumental track, Night Chill. This was an excellent way to start this tribute album, and really set the tone for what was to come. It keeps the creep factor of the original recording, while giving it a modern edge, by utilizing keyboards in certain parts of the riff.
Midnight comes at us next with their rendition of a true Samhain classic, Mother Of Mercy. From a musical standpoint, it’s very faithful to the original. Some exceptions being that guitar tone being a bit muddled, and the vocalist utilizing more Hardcore style singing, which brings a more aggressive tone to the lyrics.
For the track, In My Grip, Nil Eye gives us an interesting, new vision. It begins with some distorted “chanting,” which leads into the frantic main riff. The vocals are very much inspired by the original, although they have some sort of distorted effect added to them, making them sound a bit dated when compared to other tracks on the album.
With Black Dream, Ringworm smacks us right the face with the main riff right from the start. This brings us more Hardcore vocals, but still maintains the Horror Punk spirit of the original.
With Macabre, Ghoul hits us right in the face, with drums that are incredibly high in the mix. The vocals seem almost lazy in their approach, being almost a spoken word, rather than being sung.
Acid Witch give us what almost feels like a live recording of another classic in Halloween II. This is another rather faithful cover, with the vocals being the exception. The vocals are reminiscent of those used by Aliens and Monsters from old Sci-Fi/Horror movies.
Giving our first breath of fresh air, and fresh take, is Multicult covering The Howl. Using what sounds like combining a drum machine, with a Psychobilly feel. Due to the change in stylings of the song, we lose the great bassline. The sped up vocals are also a bit harder to understand.
For The Shift, Like Rats gives what Danzig would sound like if he were fronting Black Flag or Suicidal Tendencies, rather than a seminal Horror Punk band. Unfortunately, the bass is lost in this mix on this one. Other than the lost bass, and odd vocals, this is another fairly faithful adaptation.
Shed The Skin comes at us with Kiss Of Steel right out of the gate. It features a very strong bassline, something I feel is missing from most of the album. The real highlight here, is the use of Death Metal vocals. They really add a new flavor to the song, that I wish more bands had attempted.
The most unexpected shift on this album, comes from Immortal Bird, giving us their take on I Am Misery. What was so unexpected is the use of female vocals. They start off being very inspired Danzig inspired, before jumping into the Extreme territory, almost resembling those of Karyn Crisis.
Child Bite gives us probably the best use of their bass player on the song Unbridled. The vocals are very chaotic, with the guitars and drums giving us more Psychobilly feelings.
Brain Tentacles take a very bold approach with Human Pony Girl, utilizing a very Industrial inspired sound. The downside to this, is that while the vocals are very Danzig like, they tend to get lost in the mix more often than not.
Ritual Howls closes out the album, with a much more traditional Goth Rock sound on their version of Archangel. It features what almost sounds like another drum machine, and a guitar solo that, while sounding good, sounds like it was played too far from a microphone.
Overall, this is a very solid tribute to an incredibly underrated band. Thirteen bands, thirteen classic songs, with each band bringing something unique to the table, while still managing to keep the original spirit of the songs intact. Not only did this pay tribute to one of my favorite bands, but also gave me thirteen new bands to checkout.
“We All Want Our Time In Hell” is set for release May 4th, via Corpse Flower Records, and is available as a Vinyl only release, limited to 300 copies, in three color variants (Black, white, and orange).