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Rating: After the two well-received works of his Slash's Snakepit and the not exactly thrilling Velvet Revolver chapter, Slash seemed destined to remain an icon of rock music with a briefly illustrious past and a career based primarily on retrospective live performances. However, his first true solo work in 2010, featuring numerous collaborations with artists more or less famous, disproved this impression. Aside from sounding quite varied and energetic, the album showed that Slash still had plenty of quality riffs to offer, as well as the desire to explore new directions alongside other musicians.
The group that brought "Apocalyptic Love" to life in 2012 represented, in this sense, a new beginning which, even if it probably wouldn't find its way to the mainstream, would nevertheless receive a warm response from true genre enthusiasts. With The Conspirators recruited to complete the instrumental section and Myles Kennedy welcomed behind the microphone, Slash managed to create a fertile environment for cultivating his passion for hard rock sometimes influenced by blues. The work showcased a vintage approach to production and an array of riffs and atmospheres that at times recalled Aerosmith—those of the toxic period—and at others the unforgettable first work of the Guns. Additionally, the album had the merit of containing at least one classic capable of standing tall among the guitarist's best contributions to Hard Rock; "Anastasia" alone would deserve a mention but remains the most well-known track from the album.
After an intense period of continuous live shows, the band entered the studio to work on the sequel, and in September 2014 "World On Fire" hit the stores.
The work features interesting artwork showing melted toys and plastic objects along with Slash's sign visible at the top left. The title track starts without frills with a catchy riff and a tight rhythm leading to a blistering refrain. An excellent solo is followed by a crescendo restart that leads the piece to its end. The production is very clear and gives brilliance to the guitars and Kennedy's voice in top form; overall, the sound of the rhythm section is also open and understandable.
The next four tracks revive the winning ingredients of the opener, offering sequences of engaging riffs, high and melodic vocal lines, and spot-on solos. Particularly successful is "Wicked Stone," which shows a more bluesy but equally aggressive side with the alcoholic punch typical of tracks like "Nightrain" and "Mr. Brownstone" (to cite two illustrious examples). The initial energy is thus cleverly ridden up to "Bent To Fly," which proposes an arpeggio equally reminiscent of the intro to "Anastasia" or the phenomenal "Neither Can I," yet proving to be a "slow" with a decidedly more positive atmosphere. An (almost) pause allowing a little relaxation before another four more frenetic tracks. "Stone Blind" relies on an irresistible chorus while "Too Far Gone" and "Beneath the Savage Sun" reveal a heavier side of the album; "Withered Delilah" is another guitar gem with the umpteenth memorable riff and catchy chorus. "Battleground" once again interrupts the hard rock surge with melodic verses and a typically ballad-like pace. A good solo and excellent vocal interpretation hold the piece together until an ending that strongly references the Aerosmith of Nine Lives (a good or bad thing depending on your point of view). "Dirty Girl" screams Perry/Tyler at every note despite Kennedy's distinctive vocal quality, perhaps not among the best moments of the album but not underwhelming either. "Iris of the Storm" follows the general coordinates of the other tracks but apart from an appreciable vocal melody doesn't prove particularly interesting. "Avalon" flows by without straying too far from the two that precede it, while "The Dissident" picks up the pace again with yet another winning melody and optimistic vibe capturing on first listen. The pleasant instrumental "Safari Inn" doesn't seem to want to overdo it and can be listened to without letdowns before giving way to the concluding "The Unholy," which melds an expansive atmosphere with some damned melodies, differing from the positive and somewhat wild feeling that pervades most of the work. The album is rather long, but through its 17 tracks, it maintains consistent quality.
A decidedly successful work that, with its production up to par and many memorable tracks, foreshadowed a stable and fruitful continuation of the collaboration over the years. However, the unexpected reunion of Guns marked a new turning point in the guitarist's career, and it seems unlikely that another work of the formation will be seen soon. Curiosity remains for the new album with Axl and Duff, and considering the excellent recent performances, there are good chances it will prove in line with both the band's past and Slash's latest albums.
Tracklist
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