Stabbing Westward Albums (5)
'What Do I Have to Do?'
Release Date 8/31/2003
Tracks 10
Label Sony Special Products
See Album Tracklist and Review
What The Critics Say
Stabbing Westward was trying to reinvent themselves in 2001. Long known as an industrial hard rock group, this hardworking (lots of hours logged on the road) band has been at it since the early '90s, with several discs out and some career high points, such as their rotation on MTV's Buzz Bin in 1996. 2001 saw Stabbing Westward with a new label, Koch, a new producer, Ed Buller (Suede), and a self-titled release that maintains the band's heavy guitar sound but is buffered with a poppier sensibility. Their shift in style is a wise move, as the band is removed from the isolation of a niche genre and can join ranks with such commercially successful acts as Fuel, 3 Doors Down, and so forth. Stabbing Westward is a solid rock album that should fit comfortably on mainstream rock radio stations. Lead singer Christopher Hall's voice is full of empathy and pleading and the guitars are heavy, melodic, and thick. Hats off to band keyboard player/programmer Walter Flakus who provides tasty industrial sounds that color and nicely support the songs on this disc. A fine example of Flakus at work is on "Happy," a moody rock song peppered with a resonant vibraphone part. Several standout moments occur on this well-crafted piece of work. A raw energy marks the explosive "So Far Away," while the earnest "Perfect" moves with determination and passion. The best song of the set, however, is "The Only Thing," a creeping, trippy rock track that packs smart and engaging lyrics and vocals delivered with searing emotion. Stabbing Westward's hypnotic love song is made more potent by its dramatic and haunting music. The disc's one faltering moment occurs on "I Remember," which sounds like a Vertical Horizon ballad. All the elements are here for a searing rock ballad -- yearning voice, emotional electric guitar chords that hit you in the gut, and so forth -- but the weak link here is the lyrics, which, had they been more mature, would have made this good song great. Stabbing Westward is a solid modern rock album, flavored with catchy hooks, moodiness, edginess, and passionate music and performances. The band's decision to take a stab at a new sound paid off. ~ Liana Jonas, All Music Guide
What The Critics Say
Stabbing Westward unexpectedly rode to alternative semi-stardom in 1996 when their second album, Wither Blister Burn & Peel, became a hit, largely because there was no new NIN album around at the time. That meant they were one of the few industrial metal groups to actually have a hit, and that's because "What Do I Have to Do" had enough hooks to be an MTV Buzz Clip. There's nothing quite as memorable as that song on the follow-up effort, Darkest Days, but the album finds the group taking more risks than before. Instead of playing it safe and emphasizing their metal links, the group try to bolster their electronic influences. Ultimately, they're better at heavy than electronica, but their attempts at techno-metal-industrial fusion are often intriguing and result in some of their best work to date. ~ Stephen Thomas Erlewine, All Music Guide
'Wither Blister Burn & Peel'
Release Date 1/23/1996
Tracks 10
Label Sony
See Album Tracklist and Review
What The Critics Say
Stabbing Westward's second album finds them discarding the lo-fi aggro-synth assault of their first album for a more mainstream "guitar-driven sound." While this isn't necessarily a bad thing, you have to wonder why they would do such a thing. Some would argue that Stabbing Westward are copying Nine Inch Nails, but upon closer inspection you will probably find they owe more to the British synth poppers Depeche Mode than anyone. This is especially true on the "emotional" synth-bass of "What Do I Have to Do?" and the alien landscape sounds of "Sleep." But the question is, are they a good band? The answer is both yes and no. They are held back because they let themselves succumb to many musical clichés and formulas. Seriously though, its an OK album as long as you're not expecting too much from it. ~ Alan Esher, All Music Guide
What The Critics Say
One of the more mainstream and melodic of Trent Reznor-inspired, industrial/alternative rock bands, Stabbing Westward released their major-label debut with Ungod. Christopher Hall rages hard, singing over the grinding guitars of Stuart Zechman, the thunderous rhythm section (bassist Jim Sellers and drummer David Suycott), and the drenching keyboards of Walter Flakus. The songs don't distinguish themselves from each other much, but the tribal drumming and wailing guitars drive some catchy melodies and create a mood. "Control" is given a shot of adrenaline by the throbbing bassline and the midsection of "Nothing" has an attention-getting, jackhammer riff. And at moments, like "Lies," the band almost comes across as a less playful White Zombie. The lyrics range from bleak ("Lost") to bleaker ("Nothing") to bleaker still ("Lies"), but the beat of the music is infectious and kinetic. As to whether the grimness that permeates Ungod is cathartic or wallowing is subject to individual tastes. ~ Tom Demalon, All Music Guide
