![]() And in this album’s slower, more introspective moments, he does deserve a lot of credit, as there’s a tangible passion and vulnerability that comes through in his cracking, raspy voice, like on Prozac or Quite A While. The thing that saves this album from being completely irredeemable is Worsnop himself, who has far more character and range in his vocals than either of the aforementioned artists, and gives this album at least a bit of variety. It’s not even that good of a country album either, taking the beige country-rock of Jason Aldean or Brantley Gilbert adorned with the genre’s many tiresome tropes and playing it completely straight. ![]() ![]() It’s a country album for a start, meaning that immediately it only appeals to a very narrow subsection of the music buying populace. What a coincidence…īecause, let’s face it, without the name recognition, this album would go absolutely nowhere. If these really were entirely spontaneous events it certainly didn’t seem like – Asking Alexandria are thrust back into the spotlight after a waning couple of years, and Wornsop gets the most publicity he’s had in years, and just in time for his solo album The Long Road Home to be released. During this time, Worsnop and AA guitarist Ben Bruce fire public pot shots at each other, only for Worsnop to reclaim his role of frontman late last year. A year later, Asking Alexandria release The Black, their first album with former Make Me Famous frontman Denis Stoff at the helm, going back to their metalcore roots with middling results at best. For anyone who’s unaware, here’s a potted history of the whole ordeal – Worsnop leaves the band in early 2015 to focus on We Are Harlot, his classic rock project whose debut album was a lot better than it had any right to be. As most people who’ve been following the Asking Alexandria / Danny Worsnop debacle will be able to attest, it would be a miracle if the whole thing wasn’t meticulously planned from the off.
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