The Nu Metal Revival

It’s sad how the most dynamic genres don’t last for long. Nu Metal’s fate was like Big Beat, and it shared a lot with it. It relied on a synthesis of styles, accessibility, aggression and fun. This is the sort of genre that should’ve kept going, surviving by its ability to always change.

Of course, critics were angry. How dare these bands not spit pseudo-poetry over thrashing guitars about how Jesus is evil? We all agree that Slayer (Ripping apart/Severing flesh/Gouging eyes/Tearing limb from limb) is a lot of fun while Limp Bizkit’s lyrics about rollin’ are just stupid. The critics had their way and Nu Metal was replaced for a while by uber-serious Metalcore that had no sense of melody (Hello there, Killswitch Engage).

Thankfully, times are changing. That Metalcore has now been replaced by a more hedonistic, Pop-influenced version that sometimes borrows ideas from Electronica. While this new version of Metal is still making waves, Nu Metal has also been making a comeback. It’s not a well-publicized one, but it’s a great new addition to the genre. These are some bands that are parts of this revival. I do not include Nu Metal bands that are still active in their genre or re-united. Korn, Slipknot and Coal Chamber are still going on if anyone’s interested.

1. Islander


Of all the bands in this list, Islander sound the most disconnected from the trends. They’re not a Metalcore band who discovered you can do more than breakdowns and screaming. They’re not a band who are Nu Metal by chance – borrowing ideas from distant genres. Islander is a good old-fashioned throwback. They sound like all they know is Nu Metal. There are no Hardcore or Metalcore shades in their music. The ‘rapping’ is more informed by P.O.D.. There are sludgy downtuned riffs. The vocalist jerks from clean singing, to screaming to half-rapped vocals in the wild Patton-esque way. The screaming is also very Nu-Metal-ish, not sticking to one tone but alternating.

What makes Islander different is something that a lot of revival bands share. There’s an emotional depth that the original Nu’ers didn’t have. Slipknot couldn’t make “The Sadness of Graves” or something as beautiful as “Kingdom”. They also stray from the hedonism. Nu Metal was music for an angry youth, but it cherished the youth and hated the idea of growing up. No one would write about how being young is shit. Being young is fun, wild and all that stuff. Even “Counteract” sounds more mature than other anthems about how to defeat the world.

Recommended tracks: Cocount Dracula, Counteract, The Sadness of Graves, Side Effects of Youth, Kingdom

2. Of Mice & Men


Everything this band made before their transition towards Nu Metal is crap. You might find in total 4 good songs on their first two albums. If any band makes Metalcore sounds like it ran out of steam it’s these guys. The screaming was horrible, high-pitched and unpleasant. The guitars just made a lot of noise. There was some good melodies but it was mostly acrobatics. All that noise amounted to nothing.

It’s amazing how good their transition is. Maybe it shouldn’t be, because they had a knack for ballads. Like Islander, Of Mice & Men have an emotional vulnerability to them that makes them sound different than the original style. You can tell from the titles like “Another You”, “Would You Still Be There” and “Glass Hearts”. It works. The main problem with Nu Metal is that it tried to be macho while still talking about sorrows. These songs have a humility and warmth to them. For all the screaming and chugging that “Bones Exposed” has, it’s very tender.

Of Mice & Men’s version of Nu Metal is more limited. They have some atmospherics which may remind you of Deftones, but they borrowed the harsh-clean vocals dynamic and that’s it. They did way with Metalcore structures and made the screaming coherent, which is great. Still, even if they’re not one of the more creative bands they add some of the best melodies the genre has.

Recommended tracks: Would You Still Be There,  Another You, Bones Exposed, Feels Like Forever, Something to Hide

3. Bring Me the Horizon


How come nobody talks about this? Sempiternal isn’t just Nu Metal, it’s one of the best Nu Metal records there is. Sure, there’s pretty much no Hip-Hop or Funk, but Electronics and atmospherics were a big deal too. The album sounds like Mudvayne’s early output the most. It’s artistic rock that’s full of teen angst.

That’s a good thing, of course. It gives every experiment a purpose. The main element of that album is that it does the melodic-aggressive thing. There’s no more alternating between clean and harsh vocals. The best bands always blurred the lines and Horizon does it here. Is the chorus of “Go to Hell” clean or harsh? “Antivist” was a deliberate attempt to make a Nu Metal song, and you can’t get more Nu Metal than asking people to put their middle fingers up.

That’s the Spirit goes in an even more melodic direction, but it has plenty shades of Nu. “Happy Song” has a Hip-Hop beats and the atmospherics and electronica sounds a lot like Linkin Park. Even the blunt lyrics are Nu Metal-ish. The genre’s lyrics were always frank and made things as obvious as they can be. There was never much room for big words or pretense that this is poetry.

Recommended tracks: Happy Song, Go to Hell for Heaven’s Sake, Antivist, Throne, Can You Feel My Heart?

4. King 810


This is the oddest one on the list. King 810 are full of angst like any band, but this time is serious. The band hails from Flint, Michigan which is supposed to be a crime-infested city. The band doesn’t just talk about this life of crime but express the hardship of it. It’s a contrast to the Gangsta Rap, where a life of crime is something to be proud of. For all the songs about how the streets have no mercy, the rappers express more strength than sorrow.

King 810 are tortured over it. The whole thing is the musical version of PTSD from constant robbing and shooting. The band stops like a tank but the screaming is hurt, not powerful. When he screamins he’s going to “Killem All”, he doesn’t sound very happy or excited about it. He sounds hurt because he knows that’s all he can do. It’s a band that’s more suited for listening in darker times. It’s often uncomfortable, but fascinating. If any band on this list deserves to become viral it’s these guys.

The music borrows heavily from Korn and Slipknot. The vocals have those emotional crackles and while there’s a lot of screaming, it’s always coherent and never buries the lyrics. Although Slipknot influence should be obvious, it’s quickly overshadowed by the band’s life. The harsh life of crime informs the sound more than anything.

Recommended tracks: Eyes, Killem All, Fat Around the Heart, Write About Us, Best Nite of My Life

5. My Ticket Home


My favorite on this list. This is the most stereotypical Nu Metal will ever get. The harsh vocals that are pretty comprehensible. The aggressive, groovey riffs that aren’t Groove Metal. The rhythms make it sound like a guest rapper will appear any minute. The vocals are melodic, tender and are a complete opposite to the harsh ones.

You can trace so many elements to other bands. Linkin Park, Korn, Slipknot, RATM, Dry Kill Logic, Deftones – the band borrowed from them all. It didn’t make them sound unoriginal, but made them sound like they understand the genre better than everyone else. They sound like they didn’t just listened to the well-known bands but to every obscure ones, too. Their transition was only informed by Nu Metal but it was informed by a lot of bands.

There are also F-bombs dropped everywhere, which makes it even more fun. “Kick Rocks” is the best fuck-you song the genre ever produced. The guitarist mistakes his guitar for a turntable occasionally. Best of all, it’s both fun and angry. Their album works perfectly whether you need to vent because things are going wrong, or whether you want to throw a metal party. The lyrics are as silly as they are on-point. I first thought this was just a fun Nu Metal throwback, but it’s one of the genre’s defining albums.

Recommended tracks: Keep Alone, Kick Rocks, You All Know Better Than Me, Painfully Bored, Hot Soap

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The Doors – The Doors

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I wonder if people who think ‘music isn’t as good as it used to be’ are taking the same drugs the Doors were into. You don’t have to go too far into modern times for this to sound dated. A year after this came out Iron Butterfly dropped “In-A-Gadda-Da-Vida”. It was the same year the famous version of “Just Dropped In” was released. How did this stick in people’s consciousness?

I can understand why, but it’s not a flattering reason. The Doors sound like the protoypical ‘classic rock’ album. It’s a little loud, it has sex in it and some psychedelia to give it an edge. It has some long songs and it sounds very important. That’s the difference between “Light My Fire” and that Iron Butterfly song. Iron Butterfly just got a banging bassline and rode for 17 minutes. The Doors were sure they discovered new frontiers.

Maybe they did back then. The record has some charm in how big it is and how much it thinks of itself. Every song is deliberate, revolving a clear idea. The sequencing makes perfect sense. The first is a fast-paced rocker. The second is a macho pick-up-women song. The third is a weirder psychedelic ballad. The band wisely chooses these songs to introduce people to basics. “Light My Fire” comes later, after you’re used to the band to show you they can be weird.

Of course, ‘weird’ back then meant long songs and free improvisation. “Light My Fire” just sounds like an ordinary rock song with a jamming session. It works there because finally the band lets out all the energy they have. Add an extra minute or so to that section and the song wouldn’t be any worse.

The difference between that song and everything else is that it’s less caught up in making a statement. Compare it to “The End” (which sounded way better when I saw Apocalypse Now). “The End” doesn’t justify its length. The band tries hard to let you know this is the climatic ending with drum rolls, a serious atmosphere and Jim Morrison telling you it’s the end. The result is just showing off, but no energy or fun or substance. On “Light My Fire”, they just bang their instruments.

The album is part of the era before Rock was divorced from its rock influence. It’s no wonder artists were so confused. Only later artists like Black Sabbath and Five Horse Johnson knew how Blues worked and combined it with loud guitars. The band thinks being theatrical equals to being bluesy. The cultural appropriation debate is pretty stupid, but not as “Back Door Man”. It’s better than Led Zeppelin’s attempts, but it sounds the guys heard some Blues on the radio and made a song based on a few parts.

Even at their best, it’s just serviceable classic rock to play in bars so no one would get offended. There’s nothing really annoying about “Soul Kitchen” or “Break On Through”. They’re pretty catchy and fun, but they don’t have that attitude that made “Just Dropped In” so successful.

Psychedelic Rock can work in two ways. Either the band sounds like they’re off in another dimension, or that they make a melodic, pleasant song with weird sounds. The Doors only try the former on “The End” and “End of the Night”. Neither of them are weird enough, but the latter is good enough to make it the blueprint for the next album. When they try the other method, they make some pleasant music but nothing like the Zombies or Monster Magnet or “Planet Caravan”. The worst are the songs where their sense of self-importance comes through. “Take It As It Comes” is the sort of Classic Rock crap that ignorant listeners think is ‘meaningful’.

I heard that Morrison’s lyrics are supposed to be a big deal. I hear nothing attention-grabbing. No lyrics are bad or good. What exactly is a soul kitchen? I don’t know, but the song doesn’t make me care to find out. It’s easy to assume Morrison just wants to have sex with that woman. Weird lyrics that don’t make sense are a lot of fun. Even if the lyrics were moronic, I would’ve enjoyed them. Morrison’s lyrics are just various ways to tell a woman he wants sex without the vulgarity. It’s less impressive on record.

There are some fun songs here, but what’s the point? The psychedelic parts are rudimentary and you’re better off with their next album, or any of Monster Magnet’s psychedelic works. If you enjoyed the bluesy stuff here, check their own L.A. Woman or Black Sabbath. The Doors sound excited here. It does make these ideas sound new, but everyone – including the band – improved on this.

2 doors out of 5

Mudvayne – L.D. 50

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Nu Metal always had its weird side, and Mudvayne are trying to take it to the extreme. “Dig” was an obvious single, but Mudvayne’s quirks are there. The hook is a catchy chant, but behind the chanting the band just beats the sound to the ground. There’s a messiness and intensity to the riffs that doesn’t match other Nu Metal bands. More is going on besides noise or groovey riffs.

The bounce of “Internal Primates Forever” only confirms Mudvayne are on to something special. The “jump!” screaming adds some fun to song that tries so hard to be complex. For all of its shifting part and Patton-esque vocals, it’s a fun rocker. Both of these songs are brilliant because the band sounds like they can do anything and still make it accessible and intense and moshpit-friendly. It’s a more complex but organized version of Slipknot’s early output.

The next two tracks are okay, but it’s hard to find the difference between them. The band had a great sound, but all of their ideas were done in the first two songs and “Under My Skin” which only arrives at the end.

What went wrong? There are interesting moments. The tempo shifts in “Death Blooms” are effective and the band sounds good in a more funky setting. The melodic beginning of “-1” isn’t catchy, but it’s an addition that still contributes and adds contrast. The band never sounds tired.

It’s so boring, though. It’s hard to make a loud album that wants to literally break ground with its anger. Some did it, but not like Mudvayne. Glassjaw had heartbreak that made every song stick out. My Ticket Home’s album was short and catchy. Nine Inch Nails made it an EP. Even Slipknot couldn’t drag this for a whole album. Melody made their music heavier, but they still ran out of steam at the end of Vol. 3.

It’s somewhere around “Cradle” that the album loses all potential of a masterpiece. The song doesn’t end where it should but literally restarts. It exhausts all of its ideas and restarts anyway. Worse, it’s not very different than what came before.

It turns out Mudvayne don’t do much with their intense sound. Most of the songs consist of the vocalist screaming while the band pummels in the back and being loud. Catchy hooks and funky breaks are rare, and they’re always too short and too late to save the song.

The attempt at rapping in “Under My Skin” is a blessing. It doesn’t matter whether the label ‘forced’ them to make it or not. You can actually find traces of Hip-Hop in previous songs, anyway. It’s a lighter, catchier and more organized songs than everything around it. The band finally sounds experimental as they want to be. Being experimental isn’t just removing hooks. It also offers the guitarist to play other riffs besides slow sledgehammers.

L.D. 50 deserves some credit for making interludes sound like a good idea. The interludes scattered around the album (which also steal all the best song titles) connect to the songs, and the weird electronics offers a nice respite from the chaos. “Dig” sounds more effective if you have the build-up of “Monolith”. If only Mudvayne used these electronics to create actual songs. Maybe we could have had a nice contrast of cold electronica and chaothic Nu Metal. There’s some fun to be had here, but it’s a band being ambitious without any idea what to do.

2 doses out of 5

Shinedown – Threat to Survival

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All the talent in the world won’t help you if you don’t have an idea what you want to be. “Cut the Cord” is a brilliant rocker and nothing here sounds like it. It’s the one song where Shinedown lets loose and just let themselves rock.

Shinedown have been moving away from Post-Grunge ever since Amaryllis. Trying to find new sounds after mastering your comfort zone is great, but Sound of Madness isn’t a transcending masterpiece. It’s just a really good Hard Rock album full of hooks that makes you hope that they got more hooks in store.

Shinedown never sounded like they needed a makeover, and so far it’s not convincing. They’re not adding new sounds, but just removing the Post-Grunge antics and replace them with empty stadium boomings. Stadium Rock can be a lot of fun, but there’s no fun in tracks like “It All Adds Up”.

The sentimentality of “How Did You Love?” can be tolerated in an otherwise more fun record. Here, it sounds like Shinedown are believing their own bullshit. Imagine if Nickelback wanted you to think “Gotta Be Somedy” is a profound song. There is nothing profound or deep about Hard Rock. That’s the whole point of the genre.

There’s an attempt to chuck guitar riffs and drums for textures and some atmospherics. What they hope to achieve with these atmospherics is unclear. The atmosphere is never distinct. There are no sounds to uncover with repeated listenings. When Linkin Park threw away guitars, they piled a lot of other noises that made their melodies and rapping stick out more. Shinedown has few riffs here, and a lack isn’t an impressive achivement.

On songs that Shinedown are supposed to master, they sound clueless. They proved they could make a beautiful ballad without guitars with “Through the Ghost”. They just kept a small string section and vocals. “Misfits”‘s musical backdrop sounds like it’s supposed to be an epic closer, but the vocals sing intimate lyrics. “Dangerous” is supposed to be a sequel to “Cut the Cord”, but there are no riffs and the lyrics are too serious. Being dangerous isn’t very dangerous anymore. Society loves dangerous people. That’s why James Dean is a sex symbol.

Nothing here is bad. Shinedown got enough melodies to the album pleasant enough. It’s even refreshing how the album is more focused on the melodies rather than making noise. Still, the end result sound too lifeless. There some songs to put on the playlist, but it Shinedown’s future doesn’t look so bright.

2.5 black Cadillacs out of 5