Papa Roach – Crooked Teeth


While Papa Roach’s previous album was decent, it also put the band at a crucial point. The songs lacked emotional punch, were nothing but decent stadium anthems but had nothing going to them besides things to sing along to at shows. It didn’t even sound like the band could pretend to have emotions. They didn’t even try to make tools for venting your frustration. So while pretty melodies like “Falling Apart” are nice, they had to give us something more or quit music. It’s been this way for a few albums now, but F.E.A.R. was their driest record yet.

And Crooked Teeth is exactly the kind of album I wanted from them, yet I never thought they were capable of making it. Sure, I believed they could crack an earworm or too. So when “Help” dropped, it was a good sign. It was ordinary mid-tempo rock, but there were subtle differences that hinted at a sense of purpose. Acoustic guitars were quite prominent and the vocals weren’t as explosive, adding a layer of vulnerability. It’s still an anthem, but it now had a bit of that shallow emotional sentiment that makes it work outside stadiums.

Then there was “Crooked Teeth”, which of course was praised because it was loud and we all know Pop music is bad. It’s not just the noise, though – it was truly chaotic, opting for a half-screamed verse and the band just hammering on their instruments. Most weird as the short Hip-Hop break in the middle. In the past I said “Gravity” was a brilliant career highlight but I wrote it off as a fluke. Most of this record builds from there.

You can’t escape how Hip-Hop-driven this record is, as if Papa Roach looked to the controversy surrounding Linkin Park and decided to replace them. Papa Roach were some of the worse genre-benders in Nu Metal and their rapping didn’t add much back then. Here, though, the rapping is far more focused and smooth.

Shaddix sounds like an actual rapper, having an actual flow and adopting the right tone for rapping. Even for someone used to Rap-Rock, these songs are confusing at first. “Break the Fall” and “My Medication” might as well be Hip-Hop with some guitars. Later they even adopt the genre’s bragging antics for “Born for Greatness”, where they also use their guitars for a bass drop. Add the cheery, easy vocals and you have a fantastic, chest-beating anthem that sounds confident and huge.

This rediscovery of Hip-Hop either causes, or a symptom of rediscovery of purpose in their music. Each song has its unique vibe now, nothing sounds like just another anthem. The aforementioned “Help” would sound generic in any other album, but here it’s one of a kind. Its subtle unique traits, like letting the acoustic guitars stay prominent rise to the surface. On “My Medication” and “Break the Fall”, they re-capture the spirit of teen angst that made their old music so good. What was lacking in their latest album was that.

Teen angst may be shallow, generic and too general for any depth. It can be effective though, especially with good hooks. “My Medication” has a manic energy in how the guitars roar and Shaddix sounds like he cares about this subject matter, like he is a drugged-up rockstar living a reckless life. The anthemic nature of the songs is secondary to their purpose. Even their ballads improved. “Periscope” lets the guitarists try something else for a change, a pseudo-underwater riff while Shaddix along with Grey keep the vocals low. It’s a song you’d expect from Deftones if they tried to go Pop. If this sounds like ripping off, it might – but Papa Roach throw themselves with full conviction that people in YouTube got worried over that track.

The highlight of the album is easily its oddest track – “Sunrise Trailer Park”. In a way it’s a spiritual successor to “Gravity”, only it pushes so far into Hip-Hop that it has no business being on Rock radio. True, it’s not as harrowing emotionally was it wanted to me. Lyrical imagination was never one of their strong points and the subject matter of losing a friend from drunk driving – and being guilty – has no depth here. Still, the band is sincere enough, letting the emotions rise out without forcing them. It might be obvious, but it’s never overt and there is something quite haunting and damaged in the line “I’m still haunted by the best years of my life”. At the end of the songs these lines just float with the beat. Such decisions can only come from a focused band who knows what their songs is about.

What I wanted from Papa Roach was focused songwriting and capturing the old energy of frustration rock. In some cases – like in the title-track or “Help” this is what I get and it’s enough. The addition of rapping, exploring new sounds and territories, having “Sunrise Trailer Park” suddenly hints that maybe this band has something in them more than just venting tools. Maybe that’s what happens when you grow up. You may not have emotional depth, but you realize you’re free to try whatever you can. Hopefully this is a rebirth and maybe they’ll become genre-benders like Linkin Park.

3.5 crooked teeth out of 5

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Veronica Roth – Divergent

divergent
Hating the government is big business. Without a government we could hate, a lot of people will be out of job. I’m not just talking about scumbag officials. Imagine what Zack de la Rocha would do without hating the government. No one will listen to his pathetic attempts at rapping and lousy slogans. No one would buy his records. This is serious. Hating the government even mananges to pump some money into the publishing industry. Look at the Hunger Games.

Here we go. Here comes another review of Divergent that mentions The Hunger Games. I only do it because everyone else does, but that doesn’t make it right. The constant comparing of the two tells you more about how ignorant people are of the dystopia genre than about the books themselves. The Hunger Games was a heroic story about Defeating the Evil Government – no different than Star Wars. Divergent has little resemblance to it. It’s like a Young Adult version of Brave New World.

Roth wants to write about many things. She wants to examine ideas. She wants to write a love story. She wants to write an action-packed thriller. Sadly, she’s less successful than she deserves. There are plenty of moments where her approach to typical subjects are more unorthodox. Her love triangle, for example, is far more interesting and also tends to be more low key. Sometimes, she’s a carbon copy of contemporary YA. We’re talking about extended action sequences and love serving as deux ex machine.

There is potential in this premise. Roth wants to examine these ideologies. There is a satirical edge here, with how Erudite wear glasses to look smart or how the Dauntless try to look like metalheads. She manages to create distinct enough cultures that make us question and examine these ideas, rather than accept them as good or bad.

The Dauntless take the center stage, and this quality appears often there. The Dauntless are sometimes painted as unnecessarily cruel. At other times, the harshness and cruelty is reasonable. How can you become fearless without actually facing your fears? She doesn’t take the easy way out. She doesn’t separate the Dauntless to kindhearted people and to ruthless sadists, but presents that cruelty from two angles.

Divergent often reads like a critique of splitting into ideological camps. Anyone who talked with people who are proud of being left/rightwingers knows how damaging these camps are to good discourse. By choosing sides, you no longer have a mind of your own. You have to agree with everything that side says and disagree with everything the other side stands for. That’s why you get secular right-wingers who are hesitant to admit they’re all for gay marriage because they won’t want to come off as leftists.

It’s not a desire to destroy and rebuild. It’s a desire to improve what already is. Young people are often angry (which makes them appreciate rock music) and we want, to quote Fight Club, “to destroy something beautiful”. I appreciate this more mature outlook, but it doesn’t appear enough.

She tries to make ideologies clash, but her clash makes little sense. How does the desire for knowledge clashes with selflessness?

She paints the Erudite as hungry for power, but none of it comes naturally from their ideology. The pursuit of knowledge doesn’t automatically result in megalomania. Often, the more you learn the more you realize you don’t know. You end up feeling smaller. People who pursue knowledge are often too busy researching and learning than exercising control. Learning is receiving. There are studies that prove suicide is more common among intelligent people.

The Abnegation or the Dauntless faction are more fit to slide to megalomania. The ideology of Abnegation includes the suppression of the invidiual. The only way to do it is to exercise some sort of control over him so he won’t try to act on his natural impulses. Roth is aware of that. This is where Marcus’ character comes in, but it’s a small moment.

The Dauntless are less fit, but are a good possibility. The slide from testing bravery to needless cruelty is addressed, but it’s used more to draw lines between Good Guy Four and Bad Guy Eric. Eric’s ideas can have some merit. He can be a bit of an Antichrist Superstar, a rejected person who works hard to escape from failure only to end up in ruins. His main role degenerates to be the Bad to Four’s Good. Maybe it’s fine if you’re a woman and the romance speaks to you more. As a male, I’m more interested in Eric’s attempt to make up for his failures.

This is a big hole that’s hard to ignore, because that’s what instigates the climax. She doesn’t go full retard and claims the pursuit of knowledge is bad, in and of itself. It’s just the desire to overpower that’s apperantly at fault, or something. She never makes it clear enough. She just attatches a bland desire for power to create an enemy.

What came before swings from interesting to bland. The initiatition arc gives us a pretty ordinary high school story with a Bullying Gang that exists only so we would hate it. It’s a jarring transition from a variety of viewpoints to people who are cruel because they’re cruel. I have faced real bullies, the kind that did it only because they could and Roth’s portrayal is lackluster.

Since this is a world where everyone is driven by the faction’s ideas, senseless cruelty is out of place. Even as an exploration of senseless cruelty, it fails. What is frightening about bullies is that they’re sure they are in the right. When a teacher asked one of my bullies, he said he did it because it was fun. Yet there is no sense of fun in Peter’s bullying that should remind us of how we love to shoot heads in Borderlands. He does it only to move the plot forward and so we’ll have someone to hate. It’s like the corrupt businessman who we hate because he has more money than us.

There are sometimes glimpses into character development. Al’s arc is good and lifts up the love triangle a bit. He’s he typical good, but unattractive guy. He’s kindhearted and nice, but he also has no spark of sexuality in him. It’s a moment where Tris is allowed to be a dumb teenageer, and we’re invited to understand even if we disagree. Al is also not portrayed as just a Love Interest but a human with a separate life. He’s allowed to make choices, to be vulnerable, to show affection and to take matters into his own hands even if it’s a tragic ending.

Tris is also a far more interesting protagonist than Katniss. Roth actually makes her go through tough choices and question her worldview. She doesn’t give her too many shortcuts. It’s not like how Collins allowed Katniss to never kill an ‘innocent’ person. Tris makes plenty of mistakes. That’s a small improvement, but not enough. She lacks a defining feature. There is something about being Divergent, but here it’s hinted that it’s biological, so perhaps it’s external. It’s not something she acts upon. She just gets up one day and people tell her, whoa, you’re Divergent!

The copy I read also came with the manifestos of each faction. That’s the best part. They’re each written in different style that suits the ideology (Amity all have anecdots. Erudite have lists). They each make a convincing case, but they’re also very absolute and strict. They’re ripe of finding holes in them. This can be a fun exercise. This is probably what Roth wanted, but it didn’t turn out too well. Maybe the next go round will be better.

2.5 factions out of 5