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4p
Danzig Homepage
(click on Artist's name above to return to
artist's main page)
Category: Heavy Metal
Year: 1994
Label: American Recordings
Catalog Number: 9 43003-2
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Personnel
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Glenn Danzig vocals, guitars, piano
Eerie Von bass
John Christ guitars
Chuck Biscuits drums
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Tracks
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1. | Brand New God | 4:35 |
2. | Little Whip | 5:05 |
3. | Cantspeak | 4:06 |
4. | Going Down to Die | 4:59 |
5. | Until You Call on the Dark | 4:24 |
6. | Dominion | 4:13 |
7. | Bringer of Death | 4:40 |
8. | Sadistikal | 5:07 |
9. | Son of the Morning Star | 5:04 |
10. | I Don't Mind the Pain | 4:45 |
11. | Stalker Song | 5:48 |
12. | Let It Be Captured | 5:17 |
13. | Invocation bonus track | 2:59 |
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Total Running Time: | 61:02 |
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either in the musician credits or song listings (cover song credits,
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Existing comments about this CD
From: Doghouse Reilly |
Date: April 23, 2021 at 18:50 |
Danzig's fourth album came out in the fall of '94, on the heels of the surprise resurrection of "Mother" the previous winter. 4p (or just 4) is well in line with the first three albums, but is also noticeably darker and a bit less "fun." The disc takes its musical cues more from songs like "Sistinas" or the back half of II: Lucifuge than the swaggering anthems like "Twist Of Cain" or "Dirty Black Summer." Lots of softly picked/crooned intros and slower tempos, and a more somber, brooding, late-night feel than the previous albums. "Brand New God" and "Bringer Of Death" are exceptions to the rule with their overt speed and heaviness, and first single "Cantspeak" has a cool, creeping rhythm and that weird, backward guitar. "I Don't Mind The Pain" sounds almost like a dark country song before breaking into a heavy, sing-along chorus, while "Until You Call On The Dark" (kind of a rewrite of "How The Gods Kill") has one of those signature, squealy John Christ riffs. And "Stalker Song" is as
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From: Doghouse Reilly |
Date: April 23, 2021 at 18:57 |
... sinister as you'd want, with that title. "Sadistikal" and "Invocation" are both pure atmosphere, painting pictures of moonlit graveyards and dark basements, and I enjoy both tracks. But to be fair, it's easy to see why somebody who'd just discovered Danzig via "Mother" or even "Dirty Black Summer" might be disappointed with this album. This would be the last release for the original lineup, and nothing released after it would have the same magic, to put it kindly.
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