Rarely does a band re-recording their older studio material go well. There are instances where it makes sense of course; wanting to give older material the benefit of new production, wanting to re-interpret the material within the framework of a different style, wanting to show off a new vocalist who was substantially different to the one who performed on the old material, and so on – all of these cases would produce re-recordings that have a purpose by serving a need the original could not provide, even if it turns out ultimately redundant and inferior to the original. This however has no reason to exist at all, being a note-for-note rehash of Clayman‘s title track that adds nothing whatsoever to the original song. Every change made here is one for the worse, and what few positives this track does have is carried over from the original and has nothing to do with this version specifically.
The production, which on Clayman was and continues to be a gold standard for modern metal, is not copied or improved upon here. The thunderous sound of the drums, the slick and heavy guitars, the vocal layering, precisely none of that is present. Instead, the band chooses to use a totally unremarkable and boring modern metal production style. Sure it’s still slick and what not but it sounds so much limper than the old song, lacking a lot of the low end and robbing the music of a lot of its original power. The instrumentation sounds lifeless and lacks a lot of weight and frankly even by the standards of an average modern metal recording this is subpar.
The instrumentation is performed 100% faithfully – while many would see this as a good thing I believe it serves only to make this recording more redundant than it otherwise would have been. Later In Flames traded its layered guitar harmonies for increased keyboard presence, but the band doesn’t even choose to adapt the song into their more modern formula – while this wouldn’t have made it better it’d at least give it somewhat more of a reason to exist, instead of being a facsimile that pales in every conceivable way to the original. And then there are the vocals; Anders Fridén has never been a particularly good vocalist, harsh or clean, but at least backed up with the massive production of Clayman and with some vocal layering, his growls and cleans fit with the instrumentation well and weren’t the focus of the song. Here, with its anaemic recording and unsuitable vocal mixing, all of his vocals are pushed to the forefront and as you would expect he doesn’t sound good at all. His growls sound weak and his cleans are as awkward and whimpering as ever, with his performance here really topping off how useless this entire endeavour is.
There are many failed re-recordings in metal – Let There Be Blood springs immediately to mind – but at least on that album Exodus wanted to give the original album heavier, modern production and show off a new vocalist that, while in the same lane as the the original, could still offer something different. As bad as that album is, at least it makes sense as to why Exodus chose to record it, and while I didn’t care for the changes made on that album, that can be put down to personal taste. This on the other hand is inconceivably worthless and devoid of any distinguishing positive characteristics – every change made on this version is objectively inferior to what was on the original, and the band do nothing to substantially change it in a way that could be seen as some sort of reinterpretation of the original. As bad as this band’s post-Clayman output is, they’re still better off sticking to what they’ve been doing for nearly 2 decades instead of pointlessly rehashing the past.
At least this should put to rest the delusion that this band will ever turn it around, because with all the lineup changes from their glory days it will never happen, as demonstrated here.