Art of Chaos is easily the most aptly titled Crashdïet album to date. It seems just like yesterday I was chronicling a play by play of their constantly changing personnel, specifically the frontman position. That was in my review of Automaton, which dropped 4 years ago now in 2022. Somewhere in between, frontman Gabriel Keyes said adios, leaving Crashdïet singer-less yet again. Enter John Elliot: Singer for fellow Scandinavian sleaze metallers, Confess (who happen to be releasing their new album this Friday). Armed with another new singer and a renewed vengeance, these ’00s glam metal gods are back at it with their 7th full length offering, Art of Chaos.
Though I understand why many are turned off by this band’s revolving door of members, with only founding guitarist Martin Sweet remaining from the glory days of Rest in Sleaze, that doesn’t change the fact that Sweet, and by extension Crashdïet, can still write a damn good song. They’re all over this latest album, which with the exception of a couple unnecessary clunkers (nothing overtly offensive or cringe-worthy), really hits all the spots one would expect from a Crashdïet album. There’s no shortage of hard rock swagger, classic metal gusto, and bubblegum-flavored charm to be found on this outing, per usual.
Vocally, Elliot holds his own and is a welcome addition to the fold. His polished, Scandinavian snarl suits the music, especially during those textbook arena metal hooks, which the band wastes no time utilizing on the opening “Satizfaction”. From there, the bubblegum glam of “Sick Enough for Me” evokes the earworm-driven charm and lipstick-faced antics of Hanoi Rocks, while “Chaos Magnetic” stands as one of the few traditional metal moments on here, giving that Priest in Aqua Net and spandex vibe. It’s a strong, ballsy start, with the band barreling towards the listener like a mascara-eyed comet as the album continues.
Maybe it’s just me, but amidst the usual Scandi-glam antics, I can’t help but hear shadows of Dokken, especially on songs like “Can of Worms” and “Silent Place” with their ominous atmosphere, gargantuan vocal harmonies, and blatantly Lynchian riffs. The Under Lock and Key vibes are strong on these cuts. “Get Out” and the closing “Edge of a Knife” sees the band flexing their full metal muscle a little more, while “Quitter” expands upon the sugary sweetness of “Sick Enough for Me”. The only tunes that fall short for this here Crashdïeter (Would that be what they call their fans?) are “Killing It Now” and “Loveblind”, the latter feeling like an awkward unnecessary ’80s major label metal ballad.
Select missteps aside, Art of Chaos is a carefully crafted exercise in glam, sleaze, and, you guessed it, chaos. Assuming this lineup can keep it together for another album cycle, there’s no telling what lies in store. In the same breath, I continue to put my trust in Sweet, whether it be as a songwriter, guitarist, or hiring manager. He hasn’t let me down thus far, and even in this umpteenth incarnation, the band manages to be more fulfilling than much of the crop who has come in their wake. Sleaze? Yes, please!
8 out of 10
Label: Ninetone Records
Genre: Glam Metal
For fans of: Hardcore Superstar, Eclipse, Dokken
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