(hed) pe – Blackout

I was no naive at the time. I wanted desperately to like this. The album cover was beautiful. The word ‘blackout’ is pretty cool. The band’s name was badass and made no sense. Best of all, there were supposed to be one of the more Hip-Hop orientated Nu Metal. My previous experience with them was with Only in Amerika, which was good if you ignore how it treated women like the Japanese treated their specimen in Unit 731.

Something about this record felt off, though. Sure, the opening song was great and bizarre with its melodic-yet-aggressive vocals. Everything else lacked the punch, that Nu Metal chutzpah that (hed) pe did better than anyone else. After following them further into their career, the position of this album became clearer. It also explained why Only in Amerika was such a hateful record towards women.

This was their normal record. Apparently, the label pushed them to make this. Making a more radio-friendly record means less profanity, less lyrics about partying and more straight-up rock about the general gloom of life. The fact the record still sounds at home in the Nu Metal speaks volumes about the band’s talent. The label couldn’t crush the party. Even while playing straight, the band is weirder than their peers.

The key to this is the band’s natural talent. On previous albums, it could be said the genre pushed them to great moments. Here, they’re dealing with a duller sound that only talent can lift up. Check that ominous riff in “Dangerous”, that jerky guitar line in “Bury Me” or the frantic bassline in “Flesh and Bone”. Whenever a Nu Metal band normalized their sound, they had no such moments. They kicked ordinary riffs. (hed) pe can still finds unique sounds even when making generic gloom rock.

Jahred’s vocals are, of course, an integral part of the charm. His vocals are just as versatile as last time. He raps a little less, but he still jumps freely from style to style. It sometimes even sounds like there are two vocalists in the band. On “Suck It Up”, his singing voice goes ridiculously low. I talk a lot about the balance between melody and aggression which Nu Metal bands are great at capturing. That song is another perfect example of how it works.

He does sound defanged. The title-track should be an anthem against conformity, about trying to fit in. Jahred doesn’t have the same bravado and conviction that made “Crazy Legs” so thrilling. He just sings. His voice is pretty, but is that what people call ‘inauthentic’? In the previous records, his personality dominated. Here, he’s just an extremely talented vocalist. The only time he sounds like the old times is in “Crazy Life”. That’s no coincidence, since it’s the one song that relies more on rapping and some hedonistic lyrics.

At least he has a beautiful singing voice. On the acoustic, Everlast-esque “Other Side” his voice is so pretty it doesn’t really matter that it must be insincere. If we learned anything from the Lostprophets fiasco is that music’s an act. Jahred’s act may not be the most convincing, but his natural charisma lifts up the already excellent melodies. No one else should perform “Revelations” or “Get Away”. Then again, who really cares about authenticity in Nu Metal? It’s a genre about partying and vague complains about life. Blackout may more serious than their previous album, but the title-track is still a banger.

There’s actually a good side to removing the band’s personality. In later records Jahred came off like a misogynistic rapist. How he didn’t get involved a sex scandal is a mystery to me. In fact, I’m sure he did his sure of sex crimes that just weren’t reported yet. Blackout is unique in the band’s discography. It has all the band’s main talents – the crushing riffs, odd sounds, genre-hopping, versatile vocals – without the obnoxious “Women are evil and I love sex” lyrics. It’s the one (hed) pe album I can listen to without squirming.

Despite defanging and normalizing the sound, the natural talent of this band lead to a strong set of songs. It may lack their unique personality, but then again their personality sometimes got in the way. Everything you need in a Nu Metal record – hooks, loudness, variety are here. Not every record can be as brilliant as (hed) pe’s self-titled, but each of these 13 songs should be on a playlist for a rock party.

3.5 crazy lives out of 5


From Ashes to New – Day One

There was bound to be a Linkin Park worshipping band some time. The only surprise is that it came this late. It’s been 12 years since the explosive success of Meteora, and only now a band tries to replicate its success?

Linkin Park had their share of similar bands, but they always took the most banal elements. Red and Hoobastank didn’t echo Linkin Park but echoed the whole Angst Rock movement that encompassed a variety of genres. A few others came close, like Thousand Foot Krutch. They were too fun and loose though. From Ashes to New literally worship it.

The only difference between Ashes and Linkin Park is in the rapping. It’s more aggressive, sounding leaning towards the wackier moments of Cage. Besides that, “Land of Make Believe” sounded like what the fans wanted and never got after Meteora. The rapping drives the verses and the beat fits the amount of bars – the band is clearly familiar with Hip-Hop. The chorus is melodic but full of hate and there’s some screaming to add punch. It’s all backed by electronic sounds.

It’s just as exciting as it was the first time Linkin Park did it. The weird criticism aimed at Linkin Park that they’re generic still doesn’t make sense. Later albums proved they were always about mixing things up, and the bands that truly sound like them have these same qualities. Just as it took time for Icon for Hire and Hollywood Undead to expand their genre, it will take to Ashes too.

Their sound is great, but it’s limited. Despite mixing genres, the songs themselves aren’t very different. Even the mood feels oddly the same, even though “Land of Make Believe” is supposed to be aggressive whereas “Downfall” is hopeful. It’s not enough to just borrow various ideas from various genres. You need to find a way to mix them up.

When Linkin Park realized this, we got Minutes to Midnight which had the pure Hip-Hop of “Bleed It Out” next to the electronic ballad of “Leave Out All the Rest”. It’s hard to find such odd moments here. There’s a quasi-bass drop in “Farther From Home” but it doesn’t really affect the song. In the end, every song is the same. Hooks are sung with complete serious, the drums and guitars thunder, the electronics tell you this is epic and someone occasionally raps.

The hooks can only carry them so far, although there are some brilliant ones – “Downfall”, “Land of Make Believe” and “Breaking Now” make you forget the obvious influence. If you have a uniform, you need brilliant hooks. It’s not that Ashes lack something specific that prevents them from writing good hooks. They sound passionate enough, and they never rely on annoying techniques of just stretching syllables. The science of a good chorus is a confusing one and the band isn’t an expert on it here.

There’s hope for them, though. They may be derivative, but they’re derivative of a great band who later became greater. Even if they lack Linkin Park’s hooks, they got their wide-eyed approach. Being an experimental, genre-bending band is hard. It takes experience to learn about the genres, how they work and in how many ways you can mix them. The band gets the basics right, so the future looks bright for them.

3 ashes out of 5