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Danzig 4
Studio album by
Danzig
ReleasedOctober 4, 1994
RecordedOctober 1993 – May 1994[1]
Studio
Genre
Length61:06
LabelAmerican Recordings
ProducerGlenn Danzig, Rick Rubin
Danzig chronology
Thrall-Demonsweatlive
(1993) 		Danzig 4
(1994) 		Danzig 5: Blackacidevil
(1996)
Singles from Danzig 4
  1. "Cantspeak"
    Released: 1995[4]
  2. "I Don't Mind the Pain"
    Released: 1995[4]

Danzig 4, also titled Danzig 4P, is the fourth studio album by American heavy metal band Danzig. Released in 1994, it was the band's final album on American Recordings, and the last to feature the original lineup of John Christ (guitar), Eerie Von (bass), and Chuck Biscuits (drums). Danzig 4 followed 1993's highly successful Thrall-Demonsweatlive EP and singer Glenn Danzig's 1992 instrumental solo effort, Black Aria.

Album title

[edit]

In various 1994-95 interviews, Danzig explained that he did not wish to give the album a title, as he felt that a logo or printing would ruin the artwork, which he wished to stand on its own. After pressure from representatives from American Recordings, who did not want to release an unlabeled album for fear that sales would plummet, Danzig relented and allowed a sticker reading "Danzig 4" to be placed on the album's cellophane wrapper in both the vinyl and CD formats. To the right of the "4" is a tiny uppercase letter "P", in reference to the Four P movement. The following information was supplied by American Recordings in 1994:

"The Four P movement is an alleged Satanic cult operating throughout the United States. An offshoot of the notorious Process Church of the Final Judgment, the Four P movement takes its name from the Process' original sigil: a swastika-like form composed of four interlocking Ps. The Four P movement was supposedly begun in 1967, and has been connected to a number of ritual killings across the country, including the Son of Sam killings in New York and the Manson Family murders in California."[5]

In interviews the band members themselves usually refer to the album simply as Danzig 4, which is printed on the CD itself, the inlay spine, and the labels on the vinyl LP. In the liner notes to the 2007 compilation The Lost Tracks of Danzig, however, Glenn Danzig refers several times to Danzig 4P.

Production

[edit]

Danzig 4 was recorded at Ocean Way and Sound City Studios in California.

During the song writing process for the album, Glenn Danzig recorded his basic ideas onto a microcassette.[6] The process continued with Glenn Danzig and John Christ working on guitar parts, before the next stage of Eerie Von and Chuck Biscuits working out their parts of the song arrangements.[6]

The band introduced different instruments and used a few industrial sounds in the background of some tracks.[7] 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."[8]

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."[8]

Biscuits preferred the drum sound captured on Danzig 4 to the drum sound on his previous Danzig recordings: "I've had problems with the drum sounds on previous records. They've been too flat, too controlled. In the past, Rick [Rubin] has been into that dry, tight AC/DC sound. This one was looser, with more spaces, more noise."[6]

The CD release ends with an unlisted hidden thirteenth track. According to an interview with Glenn Danzig, the track is titled "Invocation" and is "about a demon fucking somebody."[9] The song is inspired by a black mass Danzig claims to have heard at the Magickal Childe occult emporium in New York.[10] "Invocation" includes a Gregorian chant,[11] and instrumental tracks that are unique to the song, but reversed, as is Glenn Danzig's spoken introduction: "All right, let's hear it back". The track has been described as sounding like a demonic ritual, and Christ described the motivation behind the recording: "People give us a hard time about the 'Devil thing', so we figured, 'Let's give them something to really talk about'."[12] There are several blank tracks before "Invocation", so that it is numbered track 66.[7] CD players that display the "current track number" and "total disc time elapsed" in minutes thus read 66  61:38 on the display as the final track starts. This is perhaps an intentional reference to The Number of the Beast and the song "We Are 138" that Danzig wrote during his days in the Misfits. "Invocation" is not included on the cassette or vinyl versions of the album.

Although the songs "Crucifixion Destruction" and "White Devil Rise" were mentioned in interviews and articles throughout 1994, with Danzig even discussing the latter in some detail, neither song was included on the final version of the album. Along with another outtake from the same sessions, "The Mandrake's Cry", these were finally released in 2007 on the first disc of The Lost Tracks of Danzig (with "Crucifixion Destruction" under its correct title, "Satan's Crucifiction").

Musical style

[edit]

The album is more experimental than its predecessors, and Glenn Danzig described it as "A very challenging record, philosophically, vocally and musically."[13]

Inspired by accusations that their songs contained hidden Satanic messages, the guitar tracks for "Cantspeak" are those of "Let It Be Captured" played in reverse, as Christ explained: "Eerie Von had the idea of playing one of our songs backwards...we recorded whole guitar solo and drum parts backwards in the songs on this record. In the end we were so obsessed on this that we were trying to really play the whole song "Let It Be Captured" backwards. Therefore, a new song was created - "Cantspeak"."[14]

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."[6]

Themes

[edit]

The lyrics to the song "Cantspeak" provide a depiction of helpless desperation.[9]

Glenn Danzig has stated that the song "Going Down to Die" was written about "knowing you're gonna die and dying....some people know they're going to die. They sense it, and they do die. I've known when other people are going to die, and they died."[15] He also revealed that at one point there were plans for the song to be included on the Natural Born Killers film soundtrack.[15]

Artwork and packaging

[edit]

The album cover features artwork by Glenn Danzig. Glenn Danzig has referred to the symbols on the album cover as "Vehmic runes" that spell out "Danzig".[16] They were taken from the alphabet of a secret tribunal group from Medieval Germany called the Vehmgericht.

The liner notes contain a panoramic picture of the four band members in propped up coffins, flanked by Secret Service men, as a Bill Clinton impersonator shakes hands with a police officer wielding a shotgun.[17] The photo is reminiscent of a 19th-century photograph of dead outlaws on display.[17] Glenn Danzig would later reveal that the FBI considered him a threat to Clinton, the American President at the time of the album release.[18] The liner notes also include a yin yang symbol incorporating the Danzig skull, by artist Michael William Kaluta.

The first pressings of the album were sold in a distinctive cardboard sleeve, which Glenn Danzig claimed was more like that of an old-fashioned LP and more environmentally-friendly than the common plastic CD jewel case. Since this initial release of the album, its cardboard packaging has been replaced by the jewel case.

Like Danzig's previous three albums, Danzig 4 has been labeled with a Parental Advisory (originally in the form of a sticker until the repackaging in the jewel case) since its initial pressings, despite the absence of common profanity.

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStar[7]
College Music Journal(favorable)[19]
Entertainment WeeklyA−[20]
QStarStarStar[21]
Request Magazine(favorable)[22]
Rock HardStarStarStarStarStarStarStarStarStar[23]
Rolling Stone(favorable)[24]
Spin Alternative Record Guide6/10[25]
  • AllMusic - "Danzig's experiments with using texture and atmosphere to evoke their trademark mood of darkness and evil come to the forefront on their fourth full-length album...the music here comes the closest to reflecting the darkness of Glenn Danzig's lyrics. Some, however, may miss their more energetic earlier albums."[7]
  • College Music Journal - "Maintaining a mysterious, dark and primal attitude seems to come easy to Danzig, as the group proves itself once again on Danzig 4. Danzig 4 is definitely not for the meek."[26]
  • Q - "A little more diversity and a significant tightening up of the songwriting quality has resulted in a dark, moody, and at times powerfully evocative album."[21]
  • Request Magazine - "The brooding melancholy of 4 never lets up, aided by the stripped-down coproduction of Rick Rubin. The guitar and vocal distortion adds a psychedelic otherworldly touch while bringing the music back to the rawness of Danzig's garage-punk roots. A Danzig album is always fascinating because the band sounds like no other in hard rock today."[27]
  • Trouser Press - "Dark, sinister, violent, theatrically overstated...Danzig sounds a personal note amid the usual fictional depictions ("Bringer of Death," "Stalker Song"). "I Don't Mind the Pain," "Son of the Morning Star," "Let It Be Captured" and "Cantspeak" disguise what appear to be mundane feelings of loneliness in grandiose imagery, although that doesn't explain the sexual violence of "Little Whip." Elsewhere, he indulges in a little garden-variety self-deification ("Brand New God," "Until You Call on the Dark"). The dynamic variety of the long, ambitious record is better than ever, but it's an audibly strenuous effort. Too self-conscious by half and sonically thick-skinned where previous albums ripped away flesh, 4 is pure, but not prime, Danzig."[28]

"Until You Call on the Dark" appears on the 1996 compilation album Big Ones of Alternative Rock vol. 1. The black metal band Behemoth recorded a cover version of "Until You Call on the Dark" for their 2005 EP Slaves Shall Serve.

Touring and promotion

[edit]

Music videos were released for the songs "Until You Call on the Dark", "I Don't Mind the Pain", "Cantspeak" and "Sadistikal".

"Cantspeak" was produced by the underground director Fred Stuhr, known for his work with the band Tool, and uses a mixture of live-action performance and computer-assisted animation.[29] Discussing the video, Stuhr explained "I wanted to create a sense of someone being trapped, someone who can't speak. He's not alive or dead. He's just an ideal, a soul, an existence floating in and out of this time, this reality."[29] The "Cantspeak" music video appeared on Beavis and Butt-head, in the episode "Animation Sucks".[30]

"Until You Call on the Dark" marked Chuck Biscuits' final music video appearance with Danzig. The music video was initially rejected by MTV's Standards and Practices department due to its lyrical content.[31]

Joey Castillo appears in Biscuits' place in the music videos for "Cantspeak" and "I Don't Mind the Pain".

All music videos from the album are featured on Danzig's Il Demonio Nera DVD.

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.

Track listing

[edit]

All tracks are written by Glenn Danzig.

No.TitleLength
1."Brand New God"4:29
2."Little Whip"5:10
3."Cantspeak"4:06
4."Going Down to Die"4:59
5."Until You Call on the Dark"4:24
6."Dominion"4:13
7."Bringer of Death"4:40
8."Sadistikal"5:07
9."Son of the Morning Star"5:04
10."I Don't Mind the Pain"4:45
11."Stalker Song"5:48
12."Let It Be Captured"5:16
66."Invocation"2:59

Personnel

[edit]

Danzig

[edit]

Production

[edit]
  • Producers – Glenn Danzig, Rick Rubin
  • Engineers – Jim Scott, Ken Lomas
  • Mastering – Stephen Marcussen
  • Artwork – Glenn Danzig (cover art), Michael William Kaluta (interior art)
  • Photography – Dirk Walter

Charts

[edit]
Chart (1994) Peak
position
Australian Albums (ARIA Charts)[32] 95
Canada Top Albums/CDs (RPM)[33] 43
German Albums (Offizielle Top 100)[34] 39
Swedish Albums (Sverigetopplistan)[35] 36
US Billboard 200[36] 29
Chart (2026) Peak
position
Greek Albums (IFPI)[37] 11

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Danzig 4

View on Grokipedia
from Grokipedia
, also known as Danzig 4P, is the fourth studio by the American heavy metal band Danzig, released on October 4, 1994, through American Recordings. The album, co-produced by frontman and , represented the final recording with the band's original lineup of Danzig on vocals and guitars, on guitar, on bass, and on drums. Featuring 13 tracks that incorporated elements of alongside the group's signature heavy metal style, it explored themes of darkness, dominance, and existential struggle, exemplified in songs such as "Brand New God," "Little Whip," and "Until You Call on the Dark." The title 4P alluded to a conceptual "Four P Movement" emphasizing principles like and power, as articulated by Danzig in contemporary interviews. While commercial success was modest compared to prior releases, the album garnered praise for its production quality and sonic , though it later drew discussion on vocal shifts in Danzig's performance amid lineup changes.

Background

Conception and album title

Danzig 4P was developed as the successor to the band's third album, Danzig III: How the Gods Kill, released in October 1992, with principal songwriting led by frontman during the intervening period. Contemporary accounts from 1994 indicate that the project included considerations of tracks such as " Destruction" and " Devil Rise," which were discussed in interviews but ultimately excluded from the final tracklist. The album marked the culmination of work with the original lineup before subsequent changes, reflecting Danzig's ongoing intent to evolve the band's heavy metal sound through expanded production techniques. The album's title, stylized as Danzig 4P, eschews a conventional name in favor of a minimalist designation integrated into the cover artwork. In 1994–1995 interviews, Glenn Danzig stated that he avoided assigning a full title or prominent band logo to prevent defacing the visual elements, which consist of his own abstract paintings depicting surreal, occult-inspired imagery. The "4P" form—featuring a small "P" adjacent to the numeral 4—has been associated in metal community documentation with the "Four P Movement," an alleged 1960s-originated occult group linked to ritualistic activities and symbolized by interlocking "P" sigils reminiscent of a swastika variant, themes resonant with Danzig's lyrical preoccupations. This connection, while widely noted, lacks direct attribution to Danzig himself beyond the stylistic choice. The album was released on October 4, 1994, via American Recordings.

Lineup and band dynamics

The lineup for the recording of Danzig 4P featured on lead vocals, guitars, and keyboards; on lead guitars; on ; and on . This configuration, intact since the band's in 1987, marked the final studio album for these four members together, reflecting a period of relative stability amid Danzig's evolution toward more experimental heavy metal sounds. Internal band dynamics during the 4P era were characterized by Glenn Danzig's dominant creative control, which he later described as intentionally fostering a rotating membership to inject fresh energy, though the original quartet had persisted due to its effective chemistry on prior releases. Tensions surfaced post-recording, with drummer departing in mid-—shortly before the album's October 4 release—amid disputes over a proposed contract that demanded intensified touring commitments and exclusivity, which Biscuits resisted. For the subsequent promotional tour, assumed drumming duties, joining at an in-store signing on release day and maintaining the role through the fall and winter of 1994–1995. These shifts foreshadowed broader instability, as bassist and guitarist exited in July 1995 after the tour's conclusion, later attributing their departures to diminishing enjoyment and frustrations with the band's direction under Danzig's uncompromising vision. The album thus served as a creative endpoint for the founding lineup, highlighting how Danzig's emphasis on his singular artistic authority—prioritizing innovation over long-term personnel continuity—ultimately eroded the group's cohesion.

Production

Recording sessions

The recording sessions for Danzig 4P took place primarily at in Hollywood, , and in , . Mixing occurred subsequently at The , also in Hollywood. Engineers Jim Scott and Ken Lomas oversaw the technical aspects of tracking and overdubs. Glenn Danzig contributed extensively beyond vocals, performing on guitars, bass, , , and , while directing production. The sessions featured the band's original lineup, with on guitars, on bass, and on drums, marking their final collaboration on a full-length before lineup changes. Additional instrumentation included string arrangements prepared separately, though core rock elements were captured live-to-tape where feasible to preserve raw energy. No public details specify exact session dates, but the process followed the 1993 Thrall: Demonsweatlive EP, aligning with the 's October 4, 1994, release on American Recordings.

Orchestral arrangements and experimentation

The production of Danzig 4 incorporated experimental elements that diverged from the band's earlier heavy metal blueprint, emphasizing atmospheric depth, dynamic contrasts, and subtle industrial influences amid Rick Rubin's polished oversight. During , explored directions inspired by the waning scene, incorporating unconventional textures and song structures to heighten the album's moody, introspective quality, though these were tempered compared to the full pivot in subsequent releases. This experimentation manifested in tracks like "I Don't Mind the Sun," which featured prominent work for a stripped-down, folk-inflected contrast to the riff-driven aggression elsewhere, allowing for greater vocal intimacy and sonic vulnerability. Guest contributions furthered the innovative approach, with guitarist providing electric and acoustic guitars on "See All You Were," "Son of the Abyss," and "Stalker Song," alongside background vocals on the former, introducing layered harmonies and tonal variety that enriched the album's experimental palette without overshadowing the core lineup. Rubin's involvement ensured a refined clarity in the mix, amplifying low-end frequencies and spatial effects to create a darker, more immersive soundscape, as evidenced by the precise drum tracking from and Eerie Von's bass lines, which supported elongated builds and atmospheric interludes. These choices reflected Danzig's push toward personal and violent thematic expression through sonic means, prioritizing emotional rawness over conventional heaviness. While no dedicated orchestral sections appear in the credits, the production's experimentation with stringed instrument dynamics—particularly acoustic and techniques—evoked a brooding, orchestral-like tension in pieces such as "Lil' Lilin," blending punk-metal roots with bluesy experimentation for heightened dramatic effect. This approach, honed across sessions at studios like Chung King House of Metal and A&M, marked Danzig 4 as the original lineup's most varied effort, bridging the band's metal heritage with forward-leaning sonic risks before lineup changes curtailed further evolution.

Composition

Musical style

Danzig 4P exemplifies a blues-infused heavy metal style, blending traditional metal riffs with blues-based song structures and a pronounced emphasis on dark, atmospheric textures. The album's sound draws from the band's earlier blues-rock roots seen in the self-titled debut and Danzig II: Lucifuge, while incorporating fuller chord voicings and effects to heighten an aura of and . Compared to the more anthemic and energetic prior albums like How the Gods Kill, Danzig 4P adopts a slower pacing, melancholic mood, and brooding tone, with progressive edges and subtle industrial influences evident in guitar distortions and rhythmic emphases on bass and percussion. Tracks such as "Snakes of Christ" retain straightforward heavy metal aggression rooted in progressions, while others like "Going Down to Die" evoke a depressive, doom-laden atmosphere through extended builds and eerie sonic layering. Glenn Danzig's vocals and compositional control infuse the record with gothic undertones, prioritizing emotional depth over high-energy bombast, resulting in a sound that critics have described as visionary yet inconsistent in its experimental shifts. This evolution reflects a causal shift toward more introspective production choices, prioritizing mood over accessibility, though it maintains the core heavy metal framework with dark lyrical synergy.

Themes and lyrics

The lyrics of Danzig 4P center on existential dread, interpersonal domination, mortality, and undercurrents, extending Glenn Danzig's longstanding interest in gothic horror and blues-derived motifs of and the . Songs frequently depict power imbalances and emotional , as in "Little Whip," where imagery of crawling submission and ritualistic punishment evokes sadomasochistic dynamics: "You crawl across the floor on your hands and knees / Who do you want it to be?" This reflects a recurring fascination with control and surrender in intimate bonds. Mortality emerges starkly in "Going Down to Die," portraying inevitable decay and foreknowledge of through lines like "And I know that it's true / All the fire has gone out of the sky / The stars have died and so have I," underscoring resignation amid cosmic . Similarly, "Cantspeak" conveys helpless desperation and silenced agency under oppressive forces: "Can't speak, can't talk / Can't do anything they want / Gonna live with all my inside," symbolizing internal torment and futile resistance. Danzig's delivery amplifies these as cries of isolated . Relational and manipulation feature in "Devil's Plaything," which Danzig described as exploring "control over another person," with warning of love as "a devil's thing, a violent storm" fraught with lies and possession. elements intensify in tracks like "Brand New ," proclaiming a defiant, self-proclaimed amid apocalyptic rejection of traditional : "I am a walking mountain of a man / With a new stuck in my hand." The album's 66, "," further nods to ritualistic summoning, aligning with Danzig's response to prior accusations of satanic content by amplifying dark, infernal imagery rather than diluting it.

Artwork and release

Cover art and packaging

The front cover artwork for Danzig 4P was created by , featuring an abstract, symmetrical inkblot design interpretable as the band's iconic motif, with esoteric symbols along the bottom. Danzig described these symbols as Vehmic runes derived from the alphabet of the medieval German Vehmgericht tribunal, intended to spell "Danzig." The back cover artwork was illustrated by fantasy artist Michael W. Kaluta. Initial pressings of the album were packaged in a distinctive cardboard , which Danzig likened to traditional LP packaging for a retro aesthetic. Standard editions utilized a jewel case format with an included booklet containing lyrics and credits, while vinyl releases featured a sleeve in later reissues, though the original 1994 vinyl followed similar minimalist packaging principles. This approach emphasized the artwork's prominence over conventional commercial elements.

Initial release details

Danzig 4P, the fourth studio album by the American heavy metal band Danzig, was initially released on October 4, 1994, by American Recordings. The album marked the band's final release on the label with its original lineup, featuring on vocals, on guitar, on bass, and on drums. The initial formats included a (CD) in a cardboard digipak (catalog number 9 45647-2), vinyl LP, and , all distributed in the United States. The title "4P" alluded to the "Four P Movement," a conceptual reference tied to the album's thematic elements, distinguishing it from the band's prior eponymous releases. No international variants were issued simultaneously, with primary availability limited to North American markets through American Recordings' network.

Promotion and touring

Singles and media

"Until You Call on the Dark" was issued as a promotional in September 1994 by American Recordings (catalog PRO-CD-7083), featuring the album version of the track recorded during the Danzig 4p sessions. A for the song, directed as a band , accompanied the single's promotion. "Cantspeak" followed as a single in 1995, released on with the album version (4:06), an edited version (3:52), and live recordings of "Twist of Cain" and "Dirty Black Summer" from a December 19, 1994, at Arena. The single included a emphasizing the track's atmospheric elements. "I Don't Mind the Pain" appeared as another 1995 , with a May release noted for certain pressings (catalog 74321 28292 2), supporting radio and video promotion. Its featured band performance footage, remastered in later years for higher resolution. These singles, primarily promotional, aligned with American Recordings' strategy to build amid the album's experimental shift, though none achieved significant chart positions. for the tracks appeared on platforms like post-initial reviews, contributing to visual media exposure despite limited mainstream rotation.

Live performances and tour

The promotional tour for Danzig 4 began with a series of opening appearances for Metallica in May and June 1994, including shows at Darien Lake Amphitheatre in Darien Center, New York on May 30 and Garden State Arts Center in Holmdel, on June 1, alongside as another opener. The band's first headlining dates supporting the album occurred in October 1994, starting with a performance at Whisky A Go-Go in Hollywood, on October 4. The core U.S. headlining leg ran from late October through December 1994, featuring and as opening acts on multiple dates, such as Wilson Theatre in on October 30, in on October 31 (with Engines of Aggression substituting for ), Mesa Amphitheatre in on November 12, Bomb Factory in Dallas, on November 17, and Event Center in on December 16. A second U.S. phase followed in spring 1995, with and Korn serving as openers from March 24 to May 14, including in , on March 24, in on March 25, and additional stops in Colorado Springs on March 30, on April 10, on April 13, and on May 13. European dates capped the tour in May and June 1995, including Neue West in , on May 28 and Summer Arena in , on June 2; however, the May 27 appearance at Querfurt Castle Festival in Halle, was aborted after three songs. Setlists typically blended tracks from Danzig 4—such as "Brand New God," "Little Whip," and "Until You Call on the Dark"—with earlier hits like "Her Black Wings" and "How the Gods Kill," as evidenced by the April 8, 1995 show at Memorial Hall in . The tour marked the band's final outing with its classic lineup of , John Christ, Jeff Patton, and before lineup changes in subsequent years.

Reception

Critical response

Upon its release on October 4, 1994, Danzig 4 elicited mixed critical responses, with reviewers acknowledging the album's departure from the band's earlier blues-infused heavy metal toward a more atmospheric, gothic, and occasionally industrial sound, but dividing over its execution and consistency. Critics praised elements like the enhanced use of texture and effects by guitarist , which amplified the album's evocation of Glenn Danzig's lyrical themes of darkness and evil, marking it as the closest musical reflection of his occult-inspired content to date. However, some faulted the inconsistent songwriting and uneven experiments, noting that not all atmospheric additions succeeded, leading listeners to prefer the higher energy of prior releases like Danzig III: How the Gods Kill. The album's slower pacing, doom metal influences on tracks such as "Bringer of Death" and "Son of the Morning Star," and incorporation of industrial drones on "Sadistikal" were highlighted as ambitious shifts that lent a melancholic, post-storm ominousness, distinguishing it from the raging intensity of predecessors. Retrospective analyses have termed it the most divisive entry in the band's "classic era," appreciating its unified musicianship and unique gothic-doom trajectory as a strong, if overlooked, effort that presaged lineup changes and stylistic unraveling, though its hour-long runtime caused some tracks to blur together. Select tracks like "Cantspeak"—a minor hit featuring reversed guitar lines and minimalist rhythms—drew attention for their haunting quality, yet others critiqued repetitive structures, subdued bass production, and a perceived lack of emotional depth or riff-driven ambition compared to earlier works. Overall, while not universally acclaimed, Danzig 4 garnered appreciation for pushing boundaries within heavy metal's fringes, with some viewing it as the band's strongest display of majestic sadness before creative decline, evidenced by aggregate critic scores around 76 out of 100 from limited contemporary evaluations.

Commercial performance

Danzig 4 peaked at number 29 on the chart following its release on , 1994. This position represented the band's lowest charting studio album to date on that ranking, trailing the number 24 debut of its predecessor, Danzig III: How the Gods Kill, in 1992. The album received no RIAA certifications for sales thresholds such as or status. No detailed first-week or cumulative sales figures have been publicly reported by official industry sources. Subsequent Danzig releases, such as in 2010, referenced Danzig 4 as the last to outperform them on the , underscoring its relative commercial standing within the band's .

Fan perspectives and divisiveness

Danzig 4, released on November 3, 1998, elicited mixed reactions among fans primarily due to its stylistic shift from the raw, thrash-influenced heavy metal of earlier albums like Danzig (1988) and Danzig II: Lucifuge (1990) toward slower, -rock arrangements with experimental and industrial elements. This evolution, featuring extended guitar solos and atmospheric production, was seen by some as a natural maturation of Glenn Danzig's songwriting, drawing on influences from classic and , while others viewed it as a dilution of the band's signature aggression and accessibility. Positive fan perspectives often highlight the album's depth and replay value, with enthusiasts on platforms like arguing it ranks among Danzig's finest works alongside the debut and Danzig III: How the Gods Kill (1992), praising tracks such as "Bleed for Me" for their haunting melodies and "Satan's Child" for evoking a sense of dark . These supporters appreciate the record's "" status, noting how songs like "Belly of the Beast" integrate industrial-tinged rhythms without alienating the core horror-punk ethos, and view it as an overlooked gem that rewards repeated listens. In fan discussions, it is frequently defended as evidence of artistic growth, with some citing its production by Glen Danzig himself as allowing uncompromised vision. Conversely, detractors argue the album's pacing and amateurish execution undermine its potential, describing it as evoking "zero emotions" through lazy compositions and a sudden, unpolished embrace of industrial aesthetics that feels derivative rather than innovative. Many fans mark Danzig 4 as a turning point where the band's momentum waned, criticizing its slower tempos and lack of hooks as straying too far from the high-energy riffs that defined prior releases, leading some to disengage from subsequent albums. This polarization is evident in user ratings and forums, where the record scores lower than predecessors among purists seeking unrelenting heaviness, though it retains a for those valuing experimentation over consistency.

Credits

Band personnel

Glenn Danzig provided lead vocals, rhythm guitar, piano, and additional instrumentation on Danzig 4. handled lead guitar duties, marking his final contribution to the band before departing due to contractual disputes. played throughout the album, while contributed drums, completing the original lineup's last recording together prior to their disbandment in 1994. The album's core quartet maintained the heavy metal and blues-influenced sound established in prior releases, with no additional touring or session musicians credited for primary instrumentation. This configuration reflected Danzig's vision as bandleader, emphasizing self-contained production without external performers on the tracks.

Production and additional contributors

Danzig 4P was produced by and , who oversaw the album's sessions following the band's established collaboration with Rubin from prior releases. Recording occurred primarily at Studios in Hollywood, , and in , , where the core instrumentation and vocals were captured by the lineup of on vocals and keyboards, on guitar, on bass, and on drums. Jim Scott served as the primary engineer, assisted by Ken Lomas for additional engineering duties, with mixing handled at the in . Mastering was completed by Stephen Marcussen at Precision Mastering in . Beyond the production team, Michael W. Kaluta contributed artwork alongside , providing cover illustrations that drew from mythological themes consistent with the band's aesthetic.

Track listing and formats

Standard track listing

The standard edition of Danzig 4P, released by American Recordings on May 26, 1998, features eleven tracks recorded primarily at in Canoga Park, .
No.TitleLength
1."Brand New God"4:32
2."Little Whip"5:12
3."Cantspeak"4:08
4."Going Down to Die"5:02
5."Until You Call on the Dark"4:27
6.""4:15
7."Bringer of Death"4:42
8."Sadistikal"5:10
9."Son of the Abyss"2:57
10."SkinCarved"3:17
11.""3:05
Total length: 47:07.

Release formats

_Danzig 4P was released on , , by American Recordings primarily in (CD), vinyl long-playing (, and audio cassette formats across various international markets. The label produced multiple variants to accommodate regional distribution, with the editions featuring distinct catalog numbers and packaging options. CD releases included a digipak edition in the (catalog 9 43003-2) and cardboard sleeve variants, while international jewel case versions appeared in (74321 23681 2), , , and . Vinyl LPs were issued as single-disc stereo pressings, with the version (9 45647-1) in standard packaging and European editions (74321 23681 1) utilizing a sleeve. Cassettes followed similar regional patterns, such as the edition (9 45647-4). The following table summarizes key original formats:
FormatCountry/RegionLabelCatalog NumberPackagingYear
CDAmerican Recordings9 43003-2Digipak1994
CDAmerican Recordings74321 23681 2Jewel Case1994
Vinyl LPAmerican Recordings9 45647-1Standard1994
Vinyl LPAmerican Recordings74321 23681 1Gatefold1994
CassetteAmerican Recordings9 45647-4Standard1994
CassetteAmerican Recordings74321 23681 4Standard1994

Legacy

Reissues and remasters

In October 2025, American Recordings released the first official vinyl repressing of Danzig 4 since its original 1994 edition, as part of a series reissuing the band's initial four studio albums. The LP features a jacket, printed inner sleeves, and pressing on 180-gram black vinyl, maintaining the original artwork and track sequencing. This reissue addressed long-standing demand among collectors, given the scarcity of original pressings, though it replicates the source material without newly engineered remastering. No official remastered editions of Danzig 4—in any format—have been announced or released as of October 2025, despite fan discussions speculating on potential updates to the album's production, which originally emphasized experimental atmospheric elements over the band's earlier raw heaviness. Prior reissues have been limited to unofficial or bundled compilations, such as the 2018 Danzig I-IV Complete Collection, which repackaged the original masters without sonic enhancements.

Retrospective assessment and influence

In retrospective analyses, Danzig 4 (also stylized as Danzig 4P) has been reevaluated as an underrated entry in the band's discography, often praised for its bold experimentation and high-fidelity production that pushed beyond the heavy metal conventions of prior albums. Critics note its shift toward a more melancholic, gothic doom aesthetic infused with bluesy elements, marking a maturation while retaining raw garage-punk aggression, though this evolution alienated some fans expecting the riff-heavy intensity of Danzig I-III. The album's moody variety, including psychedelic distortions and philosophical depth, is highlighted as a peak for the original lineup before its dissolution, with production elevating tracks like the violent opener "" to contrast softer, politically tinged pieces such as "Cantspeak." User-driven aggregators and metal enthusiast forums reflect growing appreciation over time, positioning Danzig 4 as overlooked amid the band's early commercial peak, with its aggressive, suiting rather than passive consumption. Discussions emphasize its role in expanding Danzig's sound under producer , incorporating industrial hints and vocal challenges that foreshadowed Glenn Danzig's solo ventures, though some dismiss later efforts as diminishing its promise. The album's influence remains niche, primarily reinforcing Danzig's broader impact on horror-infused heavy rock and atmospheric metal subgenres, bridging blues-rock revivalism with experimentation. Its raw, otherworldly guitar tones and thematic echoed in subsequent acts blending punk aggression with doom, though direct citations are sparse compared to the self-titled debut's punk-metal template. As the final recording with core members and , it solidified the band's legacy of genre-blurring intensity before lineup shifts led to more polarizing output.

References

  1. https://www.discogs.com/master/28233-Danzig-Danzig-4P
  2. https://www.metal-archives.com/albums/Danzig/Danzig%253A_4p/7984
  3. https://www.amazon.com/Danzig-4-Explicit/dp/B000068GA2
  4. https://www.allmusic.com/album/danzig-4-mw0000117038
  5. https://www.rateyourmusic.com/release/album/danzig/4/
  6. https://www.udiscovermusic.com/danzig/
  7. https://www.last.fm/music/Danzig/Danzig%2B4P/%2Bwiki
  8. https://shop.metalscraprecords.com/danzig-danzig-4p-cd
  9. https://www.misfitscentral.com/danzig/sessions.php
  10. https://www.misfitscentral.com/danzig/timeline.php
  11. https://dyingscene.com/archive/the-original-danzig-lineup-to-reunite/
  12. https://www.noecho.net/interviews/eerie-von-samhain-danzig
  13. https://www.facebook.com/Keeepmetal/posts/danzig4p-is-the-fourth-studio-album-by-danzig-it-was-released-on-october-4-1994/1394097266055257/
  14. https://www.discogs.com/release/367984-Danzig-Danzig-4
  15. https://vanyaland.com/2024/10/18/617-qa-john-christ-on-danzig-horror-cons-and-the-accident-that-nearly-killed-him/
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  19. https://www.discogs.com/release/14871876-Danzig-4
  20. https://discover.hubpages.com/entertainment/review-danzig-4p-the-4th-studio-album-by-american-heavy-metal-band-danzig
  21. https://rateyourmusic.com/release/album/danzig/4/
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  23. https://www.markprindle.com/danziga.htm
  24. http://www.darklyrics.com/lyrics/danzig/danzig4.html
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  27. https://kaluta.com/pages/rock/danzig4.php3
  28. https://www.discogs.com/release/1775977-Danzig-Until-You-Call-On-The-Dark
  29. https://www.imdb.com/title/tt10926492/
  30. https://www.discogs.com/master/153283-Danzig-Cantspeak
  31. https://www.discogs.com/release/3519776-Danzig-Cantspeak
  32. https://www.youtube.com/watch?v=x5CUTSOWMAc
  33. https://www.discogs.com/release/1780205-Danzig-I-Dont-Mind-The-Pain
  34. https://www.dailymotion.com/video/x9on4ro
  35. https://www.discogs.com/master/134001-Danzig-I-Dont-Mind-The-Pain
  36. https://www.youtube.com/watch?v=zT0UMEjTPsE
  37. https://www.misfitscentral.com/danzig/tourdates.php
  38. https://www.concertarchives.org/bands/danzig?year=1995
  39. https://www.setlist.fm/setlist/danzig/1995/memorial-hall-kansas-city-ks-53dd9f89.html
  40. https://www.sputnikmusic.com/review/85512/Danzig-Danzig-4/
  41. https://www.albumoftheyear.org/album/43206-danzig-4.php
  42. http://musicchartsarchive.com/artists/danzig
  43. https://www.riaa.com/gold-platinum/
  44. https://bestsellingalbums.org/artist/2937
  45. https://vivelerock.net/blogs/news-1/danzig-hits-u-s-charts
  46. https://www.metal-archives.com/reviews/Danzig/Danzig%253A_4p/7984/
  47. https://www.sputnikmusic.com/review/11123/Danzig-Danzig-4/
  48. https://www.reddit.com/r/Danzig/comments/1856jzp/serious_discussion_is_danzig_4_actually_the_best/
  49. https://www.reddit.com/r/Danzig/comments/1n23uxg/thoughts_on_albums_after_danzig_4/
  50. https://brutalmetal.com/cgi-bin/glamcd.cgi?BandNum=10333&CDName=4p
  51. https://genius.com/albums/Danzig/Danzig-4
  52. https://www.discogs.com/release/24732251-Danzig-Danzig-4P
  53. https://www.discogs.com/release/6067414-Danzig-Danzig-4P
  54. https://consequence.net/2025/10/danzig-first-four-albums-vinyl-reissues/
  55. https://bravewords.com/news/danzigs-first-four-studio-albums-reissued-on-vinyl/
  56. https://www.amazon.com/Danzig-I-IV-Complete-Collection-Bundling/dp/B07KF8YBRY
  57. https://mainstreamforeigner.wordpress.com/2023/03/28/on-the-record-danzig-danzig-4-1994-album-review/
  58. https://www.reddit.com/r/Danzig/comments/r56nzp/how_rick_rubins_influence_transformed_the_sound/
  59. https://beardedgentlemenmusic.com/2025/04/16/glenn-danzig-and-the-burden-of-silence/
  60. https://www.yardbarker.com/entertainment/articles/30_heavy_albums_turning_30_in_2024/s1__40099740
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