Danzig 4 | ||||
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Studio album by Danzig | ||||
Released | October 4, 1994 | |||
Recorded | October 1993–May 1994 | |||
Studio | Hollywood Sound Recorders | |||
Genre | Heavy metal, doom metal, gothic metal, industrial rock | |||
Length | 61:06 | |||
Label | American Recordings | |||
Producer | Glenn Danzig, Rick Rubin | |||
Danzig chronology | ||||
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Professional ratings | |
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Review scores | |
Source | Rating |
Allmusic | |
College Music Journal | (favorable) |
Entertainment Weekly | A− |
Q | |
Request Magazine | (favorable) |
Rock Hard | |
Rolling Stone | (favorable) |
Trouser Press | (mixed) |
Danzig 4 is the fourth studio album by Danzig. It was released in 1994 on American Recordings following 1993's highly successful Thrall: Demonsweatlive EP and singer Glenn Danzig's 1992 instrumental solo effort, Black Aria.
Danzig 4 is notable as the band's final album on American Recordings, and as the last to feature the original lineup of John Christ (guitar), Eerie Von (bass), and Chuck Biscuits (drums). Shortly after the album had been recorded, Biscuits left the band, returned, and was finally fired. Just prior to the album's release he was replaced by Joey Castillo. Eerie Von and Christ also intended to leave the band, but decided to stay for the remainder of the tour supporting the album and left the band on July 5 the following year.
Danzig 4 was recorded at Ocean Way and Sound City studio in California.
During the song writing process for the album, Glenn Danzig recorded his basic ideas onto a microcassette. The process continued with Glenn Danzig and John Christ working on guitar parts, before the next stage of Eerie Von and Chuck Biscuits jamming to it.
The album is more experimental than its predecessors, and Glenn Danzig described it as “A very challenging record, philosophically, vocally and musically.” The band introduced different instruments and used a few industrial sounds in the background of some tracks. Christ explained “We wanted to introduce some new textures into the band, so we experimented with several older, exotic acoustic instruments, including a harmonium, a recorder and wind chimes.”
Christ also experimented with his guitar sound: “The big difference on this album in terms of my playing is how I use sound and texture. I experimented with several different types of stereo chorusing and pitch-shifting. For example, my tone on "Son of the Morning Star" constantly evolves throughout the song.” Christ explained the song structure of "Son of the Morning Star" in more detail: “We actually start out with jazz chords and a funky jazz beat. All of a sudden, we kick into this heavy riff pattern. Then we come back to the original jazz feel, but in a rock version.”