If you’re looking for chaos; be it lyrical, instrumental or a down and dirty demeanour you’ve come to the right place.
Attila, just like their titular counterpart, have succeeded to wreak musical havoc on the metal scene since way back in 2008, constantly reshaping and paving their way on the genre with their own specially offensive mark, and are yet to take their stubborn and reckless foot off the pedal.
This band’s most defining and pivotal feature is their renowned and somewhat illustrious marmitesque frontman, Chris ‘Fronzilla’ Fronzak. Christopher is quite possibly the polar opposite of the word ‘timid’ and steers as far clear of the shadows as possible. With his tongue-in-cheek yet self-confessed arrogance and offensive lyricism Chris has been fuelling and ammunitioning Attila with the fire-power to either offend, inspire and irritate at every corner they turn.
Whether you love them or hate them, they’re not for the faint of heart and are always to be taken with an ocean’s worth of salt.
The first murmurs of the album came about as Fronz agreed to issue a public apology for being so offensive and inconsiderate in the past, to both his fans and haters. The very next day the opening single of the Chaos – Public Apology arose onto the internet.
A song that opened with the line “I’m sorry… Sorry that you’re a little b*tch”. To be fair, we were told an apology would be made and one was.
This kind of routine slapstick comedy is exactly the type of Fronzak trademark that Attila live and breath off of, proving as a perfect way to showcase and introduce us to the first single of Attila‘s 6th studio album Chaos.
Chaos opens with the explosive Ignite, Bulletproof & Public Apology. All of which firing Attila right back into regulation maverick lyricism, chuggy riffs and a generally brutal aesthetic.
A song to pick out from those however is Bulletproof. Fronz has actually said that this is the softest song on the album (not that you’d see it in the charts or anything) but considering their usual metal route, this takes on a sound way more familiar to early 2000s Nu-Metal, easily likened to that of Limp Bizkit or Linkin Park.
The album then veers right back into the darker, grittier Attila that we know and love/loath in the form Obsession and Rise Up.
Attila have always been unpredictable to say the least and Chaos doesn’t shy away from the usual curveballing that sets them apart from others. The next big marquee track takes the form of Let’s Get Abducted. This songs almost humours at a love song and although that sounds very un-Attila, it’s pulled off in a very Attila fashion as you can see in the pretty hectic and… Well… Strange video below!
Chaos then continues to do as chaos would describe with another erratic change in song style with Queen and King.
Queen is another Fronz-stamped love song, though this time less alien, more “Always getting into trouble, screaming ‘fuck the law’ She in the front row, t*tties out, throwin’ up your bra”. Although very immature it’s only what to expect, while King also seems to surface as love song, this one aimed more at one’s self.
Lastly, All Hail Rock & Roll. To cap off their album in style Chaos throws it back to a good ol’ fashioned sleazy ego-fest. It is to be noted however that the guitar parts and some lyrical content seem heavily inspired by Asking Alexandria’s song of a very similar title, Just a Slave to Rock and Roll.
Overall Chaos speaks very much for itself in the fact that it’s simply turbulent but also simply brilliant. Attila continue to impress with their free-spirited slaloming, going left, right, up or down in terms of all things badass and all things metal.
Like all of their work, if you’re looking for musical artistry and poetical lyricism then Attila and Chaos are not for you.
If however, you’re looking for a fun, sarcastic ensemble of headbangers and moshpitters then buy Chaos for sure and do as Attila plead: don’t take anything too seriously and live everything up to the fullest.