Review: Murderdolls - Women and Children Last

FontarGoth №8

August 2010

(Translated from Ukranian)

The return of the Murderdolls in 2010 seemed risky even before the first listen. Over the course of seven years, the scene had shifted, the novelty of horror-punk had worn off, and the project itself had long existed more as a myth from the early 2000s than as a relevant band. "Women & Children Last" is an attempt to see whether that myth still holds up, without needing to account for the passage of time.

The album sounds significantly heavier and tighter than "Beyond the Valley of the Murderdolls". There is less of that loose, glam-punk abandon, and more direct, almost metal-like pressure. This is primarily to the credit of Joey Jordison: the drums here don’t just keep the rhythm—they form the aggressive framework of the record. The tempo is often mid-range or heavy—lacking the hurried pace typical of punk—with a strong emphasis on groove. The guitars sound dry and sharp—free of unnecessary grime, yet without any attempt to sound "modern." The riffs are simple, often structured much like hard rock, but delivered with the sheer mass characteristic of metal. This is clearly evident in "Mommy," "My Dark Place Alone," and "Drag Me to Hell"—tracks where the Murderdolls lean decidedly toward gothic metal rather than classic punk.

On this album, Wednesday 13 functions not as a headline frontman, but as an actor embodying a single persona, maintained consistently from start to finish. His vocals are aggressive and sarcastic, with no attempt to curry favor. The lyrics do not aim for shock value for its own sake; rather, they explore themes typical of horror punk—violence, degradation, addiction, and death—presented as elements of a theatrical performance rather than as a personal confession.

An important point: "Women And Children Last" is almost entirely devoid of hits in the classic sense. It is not an album featuring obvious singles, but rather a cohesive, fairly consistent body of work. For some, this is a drawback—the record lacks moments that "pop" immediately. For others, it is a plus, as the album plays like a unified set, free of sharp dips or forced peaks. In the context of 2010, this release is perceived not as a revival of the genre, but as a preservation of the style. The band does not update horror-punk, nor do they reimagine it. Instead, they capture its essence: raw, direct, and theatrical—with no illusions regarding its contemporary relevance.

"Women And Children Last" is an album for those who do not look for evolution, but rather value a consistent image. It does not open any new doors, yet it avoids becoming a parody of itself. And therein lies its fundamental honesty.