Review Summary: A middle of the road album with some stuff going for it but not enough to make it essential
As the new millennium kicked off, the thrash world experienced a major second wind as much of the old guard either rose from the dead or returned to old territory after experimental excursions. “What Doesn’t Die” seems to indicate that Anthrax noticed this shift taking place, putting forward some of the fastest riffs they’d dispensed in a decade reinforced by a beefy production job and a hard-hitting chorus. The last couple albums may have their upfront openers but this one’s climactic execution makes it feel like a lost eighties staple given a 2000s update.
And then the rest of the album happens.
In practice, We’ve Come For You All plays more like a more consolidated version of the Volume 8 style. That album’s kitchen sink approach is better reconciled under a more nebulous modern rock umbrella and the presentation feels much more confident between the vibrant production and enthusiastic musicianship. While there isn’t a lick of thrash beyond that opener, there’s an air of maturity that at least feels like they’ve finally stopped trying to pander for whatever relevance they can grasp.
Of course, the songwriting remains as much a mixed bag as ever though there are a couple more winners popping up this time around. Tracks like “Superhero, “Any Place But Here, “Cadillac Rock Box,” and “Taking the Music Back” pack in some good choruses even if they aren’t hitting the glass ceiling of greatest hits material and lesser tracks like “Black Dahlia” are more put together than Volume 8’s worst. “Safe Home” comes out to be a particularly strong number as its otherwise pedestrian buildup is elevated by comforting lyrics and an especially uplifting chorus.
We’ve Come for You All is ultimately a middle of the road album that has some stuff going for it but not enough to make it a true staple. It manages to be more cohesive than their last couple outings, but its character isn’t quite as defined. The more melodic execution is pleasant but with the 2010s albums doing it considerably better, hindsight suggests that maybe the band was starting to rethink how mean they’d been to Joey all those years ago. It may not be an essential listen but it’s sure as hell better than the other attempted comeback released by a Big 4 band in 2003…
