Review Summary: Putting Part Of The Song Titles In Brackets (In An Attempt To Emphasize The Meaning)
10 years on and The Poison still remains a huge album. Straight from its release, the accessible metalcore soared through the mainstream faster than a bullet. For some, it was one of the most popular ‘gateway albums’ into metal as, arguably, it targeted a specific audience through mixing relatable lyrics and crowded sing along moments with traditional and memorable Metallica-esque riffs. Through their globe-conquering popularity, Bullet For My Valentine has noticeably become worse though. Each album release declined in musical originality and each lyric become more watered down than green tea with milk and sugar. It wasn’t until 2013 when they realised, and later admitted, that Temper Temper was simply pathetic. They promised that in their new album Venom would be similar to The Poison (see what they did there) with regard to going back to their thrash influenced roots.
Matt Tuck wastes no time on upholding his word. No Way Out explodes out of the scratchy intro track in a flurry or relentless pounding that is drenched in thrash. The toxically infectious chorus coupled with the momentary whispering vocals make it seem as if it is a seamless cut from their debut. The impression lasts on the next track Army Of Noise which is clearly tailored to be a rally cry for fans and will no doubt get a rabid response of circle pits in a live performance- even if it does sound distinctly like Diet Slayer.
Padge and Matt do have some shining moments of guitar work on Venom such as defiant stabs on Pariah and Skin plus expected, yet effective, breakdowns on Hell Or High Water but the album is heavily relying on their lyrics to support the album rather than their musicianship, as proved in Broken where their harmonies and riffs are simply lazy and overshadowed by the singing. Unfortunately for newbie Jamie Mathias, no one will notice any difference to the bass in Venom except in The Harder The Heart (The Harder It Breaks) where he provides a gentle rhythm to the finite chugs and melodies from his peers.
The general backbone to Matt’s lyricism is bullying and domination-over-others. How edgy. Worthless is an obvious pick that symbolises these aspects. There are plenty of easy words to sing along to among the slithering guitars such as “You can keep all your apologies” but if you’re being bullied and look to music to uplift and strengthen your will power then don’t listen to this. Try some death metal. You Want A Battle? (Here’s A War) is an abysmal attempt at stirring music. From the cringe worthy group chants to the whimpering vocals pouring out of Matt’s wailing mouth come uninspiring lyrics such as “We will not take this anymore/these words will never be ignored” that carry just enough strength to punch a hole in a wet paper bag. Also, does he really need to shout the song titles before the music begins for most of the album?
While Venom is a huge improvement from Temper Temper, and still enough clear similarities to their admired debut for Venom not to become a disaster, it does feel like Bullet For My Valentine are still trying to walk in their favourite pair of shoes that no longer fit them.
