The Singles Jukebox

No, YOU’RE a caricature of heavy metal masculinity.

[Video][Website]
[6.57]

Katherine St Asaph: Line one: a growled “Let’s get it on!” Remainder of song: competent, not discernibly parody. I am confused.
[6]

Hazel Robinson: I fucking love The Way Of The Fist but had somehow completely missed that these dudes were still going, to my enormous detriment. If you ever listen to Meatloaf and wish he was a bit less Republican, Avenged Sevenfold and wish they were about 98% less wank, Dragonforce and wish they’d just stop pissing around for ten fucking seconds or you really loved All Hope Is Gone but wished that Corey was a bit more into martial arts films then this is very fucking exciting indeed, my friend.
[10]

Jonathan Bogart: “Dude, are you being camp?” “I can’t even tell anymore.”
[5]

Josh Langhoff: It takes a special kind of — I won’t say “talent”, but certainly effort, to construct a song where every single line is a cliché. And these lyrics aren’t simply clichés, they comprise a valuable compendium of hyper-masculine sports-military clichés, just as Weird Al’s “Bob” is a handy collection of palindromes. They’re three minutes of one-stop shopping for future anthropologists and parodists, assuming they aren’t already parody — the other song I’m hearing is “Man Up” from The Book of Mormon. So! “Back For More” is a useful document, with blastbeats and bitchin’ guitars. It sounds better every time I hear it.
[8]

Brad Shoup: I suspect that mainstream rock is sneaking us a few Rock Band readymades disguised as asskicking tonesetters. Thrill to the gametime gumbo of non sequiturs, tossed off through the complete camp-rock register (“Man versus beast” is particularly inspired). The riffage is pretty static — which makes sense if someone’s going to translate it to easy mode for gameplay — and about halfway through the song, the drummer sets his double-kick pedal to the “fuck it” setting. The chorus is where FFDP’s (a third-wave ska name if ever I’ve heard one) chest-thump looks less like posture, as Ivan Moody plows upward through the melody. As a rule, modern rock deserves as close a reading as anything else going, but I can’t deny the call of pure camp.
[6]

Iain Mew: I started off really liking the relentless, pneumatic drill-like drums that kick in on the chorus of this. It’s the one bit amidst all of the growling vocals and silly guitar solos which is a really distinctive sound (hopefully not just because I haven’t heard all the other bands doing it). The beat gets so mesmerising that it’s difficult to concentrate on any other element though, and after a few runs through on headphones it started to feel uncomfortably constricting. It was like the song was going to end it it was just going to carry on going, t-t-t-t-t-t-t-t-t-t-t-t-t-t-t forever. Luckily that turned out to just be fireworks outside.
[4]

Edward Okulicz: Half wrestling intro theme, half inspiring training montage backing music. Very good at both, as it happens.
[7]