Rob Zombie, reimagined
Worldwide Panic’s self-titled album is equal parts dense and stirring, the LA-based heavy metal band capturing the ethos of thrash metal without releasing their hold on powerful melodies and rousing vocals.
The album’s introductory track, “I Tried,” enraptures listeners with an electronic presence that immediately transitions into rock-solid drums and steadfast guitar licks. “I Tried” maintains a melodic quality, awakening a slurry of emotions as the track flexes its muscles and showcases powerful guitar riffs while seamlessly blending melodic vocals. There’s a relentless digital undertone that tweaks and elevates the song’s heavy metal sound ever so slightly while cultivating a hybrid concept that is completely original to Worldwide Panic. “I Tried” fascinates listeners from its inception, a scintillating tale complete with powerful guitar solos riling the fretboard, demanding more.
Worldwide Panic manages to evoke a sense of hysteria, but the good kind. Worldwide Panic could easily be the soundtrack to the end of days, a palpable rush coupled with a relentless beat that refuses to quit. “Less Than Nothing” calls upon the Rob Zombie powers and conjures up emotive sparks and an overwhelming sense of urgency.
Nothing screams “hardcore rock” like a metal band covering an 80s song, and Worldwide Panic flawlessly executes Tears for Fears’ aptly titled “Everybody Wants to Rule the World.” Worldwide Panic manages to capture this cult-classic song’s mischievous impression, their cover rife with quintessential 80s keyboards. However, they present a heavier, grittier feel, an unsullied version replete with plenty of grainy distortion and rounded out with background screaming vocals.
“Falling Apart” opens with another digital overture, its heavy-metal roots immediately surfacing as vigorous guitar chords and impenetrable vocals command attention. “Another Side of Me” has a more sedated appeal, the initial guitar riff preparing the listener for a more melodic journey while retaining its heavy metal quality. There’s an emotive feel throughout, the verse ricocheting from unhurried and pensive to substantial with indestructible guitars and drums. “Wish I Was Dead” offers even more powerful guitars, with what appears to be a theremin casting a haunting emergence from the background, visions of old-fashioned horror movies lurking around every corner.
“Shrapnel” opens with an equally steady pace, its unfaltering beat keeping listeners enraptured. Although less melodic in nature, it’s equally powerful and flawlessly enmeshes melody throughout its chorus. “Burn Letter” comes thumping in, the kick bass setting the stage for another shred fest, the punchy vocals keeping pace with the drum beat, creating an incessant, deliberate sound. “The Things That Are To Be” refuses to quit, the essence of Rob Zombie infused with the track’s deliberate beat. The effortless vocals perfectly accompany the dynamic, continuous rhythm, an unexpected yet welcome juxtaposition.
“The Greatest Departure” opens with the album’s most mellow guitar lick yet, bleeding into effortless percussion and lighter vocals. There’s an apparition haunting the track that can only be described as reminiscent of a cello or violin, its sound rounding out the concluding track white illustrating the adaptable yet powerful sound that is Worldwide Panic.
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