Review Summary: What did you expect?
When bands like Motley Crue and Guns N Roses were writing their music in the 80s, I don’t believe they envisioned rock n roll to turn to what it has now. Popular “rock n roll” is a land desolate of talent where the well done riff has taken safe refuge under the swift, cruel tyranny of boring breakdowns and tactless chord progressions in attempt to make a hook in metalcore. The riff is often mistaken for the treacherous half-riff, which is excused from the claws of scrutiny by teens who think their spinoff post hardcore is better than the metalcore when it is in fact barely different at all. The rock of old is forced to accept what they’ve created which, as usual, is not what was envisioned. From Death to Destiny
is the brainchild of a band at the very tip of the metalcore food chain, where judgement is recklessly and relentlessly given. No worse than it’s predecessor, but no better than exactly what was expected from a band who has made their genre so incredibly popular.
Danny Worsnop has gladly taken advantage of millions of mindless fans who have fed his habits and then complain about their “hero” drinking his life away. Stand Up and Scream
was woefully the beginning of the metalcore disease, and Reckless and Relentless
was Worsnop’s high claims of “moderation” in his alcohol consumption proving to be a miserable failure just as much as his music. The one upside to his band’s dreary discography is his own singing. No longer a whining scenie weenie, Worsnop has progressively taken to the grit of a real singer to couple with screams that have deteriorated with time. His singing is not always enjoyable on the album, but it is moreso than before because it gives Asking Alexandria more of the sound of a real rock band as they have so aspired to be. They still, however, are having trouble cutting the cord with the dreaded “chug-and-chord” formula completely. And where they do succeed in making complete riffs, they end up recycling these riffs.
From Death to Destiny
is a continuation of it’s preceding album only with better singing and over saturation of radio-friendly choruses. They still have yet to embrace full creativity and after a terrible album and terribly boring album (respectively), the musically inclined that even have an element of patience are now losing their own. The album will probably sell very well to the 12-17 age group and be a hit on the billboard, but a failure in the eyes of originality and true musicianship.