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WAGE WAR
‘MANIC’
Album Review

(12th October 2021)

Review by Karl Anchique

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Photo credit – David Niacaris

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“The group’s fourth full length is no exception, perfectly encapsulating the groovy hard-hitting riffs, mind-bending electronics and emotively heavy sensibilities that Wage War are synonymous with.” – Hysteria Magazine

“Manic is a great album from Wage War.” – Heavy Magazine

“Manic is the strongest contender yet for album of the year. It’s the soundtrack to the impending implosion of the world and it’s glorious.” – HiFi Way

“Wage War are making noise once again and our ears are wide open to take it all in.” – Wall Of Sound

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“Try to calm myself down but I feel the panic. Is it all up in my head? Manic!”

Wage War’s new album Manic features a wide array of genres to venture through themes of addiction, ruined relationships, and unstable mental health. Wage War have delivered a consistently powerful album which ages well, with every re-listen revealing new aspects of their musicianship.

The dichotomy of wanting to be clean and not having the ability pull oneself away is poignantly highlighted in Relapse. Lyrically, Relapse is a frank admission of addiction and the mental state that accompanies it. The feelings of being unworthy and useless which lead to an addict regressing are discussed in the chorus’ hook, “I take one forward then two steps, till I run out of time in the hourglass. When heaven is full and hell don’t want me back. Watch it fade to black. As I relapse.” Musically, Relapse sets the tone for Manic, with heavily distorted, de-tuned guitars, energetic drumming, guttural screams that’ll have you amped for the rest of the album.

Teeth is the unleashing of pent up fury over a soured relationship, detailing the fall out of misplaced trust and unrequited love. This theme follows Relapse intelligently, showing how a toxic relationship can exacerbate problems with alcohol and drugs. Wage War use sampled drumming to great effect in Teeth’s intro, complimenting a fuzzed out guitar and whispered vocals that lead into a blistering riff. Teeth has a great ebb and flow about it, the varying tempo keeps you on your toes, never stagnating at any point. The drumming is tastefully done in Teeth, serving the song well by accentuating sections in the riff, and pulling away at times to allow the rest of the band space to express themselves. Teeth unveils more of the addict narrative being portrayed in Manic, whilst maintaining the energy from Relapse.

Manic shows off Wage War’s range, drawing on genre’s like Trap and Nu Metal to compliment their immense riffs and forlorn lyricism. The intro’s synth line evolves throughout the song, with guitars and bass repeating it in the verse’s choruses to create a feeling of mania that is conveyed in the lyrics. Throughout the song, the repetition of the lyric, “Try to calm myself down but I feel the panic. Is it all up in my head? Manic!” feels like a mantra that one might tell themselves whilst losing grip on reality, emphasising how the Briton Bond (vocals) feels.

High Horse is a call to hypocrites who feel morally superior, and a reminder that no one is as pure as they profess to be. Wage War expertly maintains a brutal intensity throughout High Horse that doesn’t subside until the last note. The riffs have a Mastodon touch to them, and through exaggeration of the low strings the bass is given a prominent role in amongst the guitars. High Horse gives a starring role to Briton Bond’s screaming, which is fearsome and reminiscent of Corey Taylor’s circa All Hope Is Gone.

Circle The Drain reveals a vulnerability through an unassured protagonist sharing a tale of personal growth, with all the conflicting emotions which accompany the search for closure and vindication. This narrative is communicated triumphantly in the choruses via expansive and anthemic harmonies. Circle The Drain is a gripping song that grapples with inner turmoil, and from the pain, it invigorates and empowers.

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“Never Said Goodbye is emotionally raw and played with respect to the gravity of death, a real tearjerker.”

Godspeed tells of a relationship that wilts a person until they feel incapable of being happy, and has stripped them of their independence. The riff resembles soldiers marching into war, keeping your focus poised and builds powerfully into a sung chorus. The chorus lyrics, “… Lying if I said, ‘wish you well ahead’. I’m done now. Yet here’s to you and me. Godspeed.” are a bit tongue in cheek. The lyricist suggesting that even in spite of the pain caused, he’s cheers’ing to their separation due to relief and his freedom. Godspeed’s lyricism and musicality tells this story of love lost colourfully and with emotional nuance.

Musical depictions of anger can be difficult to execute, at times appearing as a facade or cliched. Death Roll however, showcases Wage War’s ability to write high octane riffs that kick like a mule. Death Roll’s unbridled riffage sets the scene for the lyrics which are equally brutal, detailing how alligators kill their prey. “Hunters of all, swallow you whole. Dragging you down in a death roll.” Death Roll will have you violently banging your head from start to finish, best song of the album.

Slow Burn is an introspective look at the writers life, a confession of where they’re going wrong, how they hope to improve, and the difficulty in striving for those goals. Slow Burn is a great example of the guitarists Cody Quistad and Seth Blake’s interplay. The second verse in particular, where Quistad holds down a constant palm muted progression whilst Blake riffs playfully, laying the foundation for Briton Bond to sing more expressively. An insightful tale of self realisation and growth, Slow Burn details the hurdles encountered when turning away from bad habits.

Never Said Goodbye is the sobering story of losing someone without having ever expressed what they meant to you. A unique song in Manic, with Wage War uncovering their capability for acoustic sensibility. Another great aspect of Never Said Goodbye is Seth Blake’s Cemetery Gates-esque guitar solo, delivered with heartfelt bends and flawless runs. Never Said Goodbye is emotionally raw and played with respect to the gravity of death, a real tearjerker.

True Colors is a strong return to usual programming from Wage War, with intense drumming and growling riffage. Stephen Kluesener shows off more than a bit of creative flair in True Colors, with expert double kicking and rapid tom-tom fills. Thematically, True Colors explores a relationship dynamic where one feels as though they’re unfairly emotionally draining the other, “We both know that I’m not who you need me to be. You don’t know me it’s only what I let you see. Never wanted to be so cold, but I’m better off alone. Let me go before my true colours show.” True Colors is an insight to a doomed relationship through the perspective of a social and emotional recluse.

If Tomorrow Never Comes truly has a cataclysmic feel about it, defined by a world ending outro that draws the curtain on Manic. Beginning in classic Wage War fashion, If Tomorrow Never Comes re-emphasises their ability for head splitting riffage, with a side of blood curdling screams. Wage War brings Manic to a close with a well orchestrated fade out, starting with clean guitar arpeggiation, and vocal harmonies that feature brilliant falsettos. This builds into a dramatic breakdown with all musical elements becoming enmeshed to create an all encompassing, ethereal outro that puts the perfect final touch onto an amazing album.

Buy the album HERE

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MANIC
Track Listing:

01. Relapse
02. Teeth
03. Manic
04. High Horse
05. Circle the Drain
06. Godspeed
07. Death Roll
08. Slow Burn
09. Never Said Goodbye
10. True Colors
11. If Tomorrow Never Comes

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Follow WAGE WAR
Website – Facebook – Twitter – Instagram

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Press Release 1st October 2021 (below) HERE

WAGE WAR
release new album
‘MANIC’
today

& Share video for
title track

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AMNPLIFY – DB