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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I See Stars – Treehouse

treehouse
I See Stars produced one of the finest metalcore songs in “Ten Thousand Feet”. It was an astonishing achievement. While it wasn’t catchy, it had deep textures using Trap music, a dynamic but focused structure, a beautiful melody and a strong candidate for heaviest breakdown ever. If the song is about a plane crashing, the breakdown at the end is the aural equivalent. There’s a similar, brilliant breakdown here in “Mobbin’ Out”.

They can make good heavy music, but their reliance on heaviness was always their undoing. After transforming into an artistic Trancecore band, the guitars always drowned out the vocals. You kept waiting for a beautiful texture or for a bass drop only to have the guitarist chug all over it with the dude screaming nonsensical lyrics. One song like “Ten Thousand Feet” is enough, but when the dance section of “NZT48” is barely a minute long despite being the band’s finest hour, it’s clear they’re is holding themselves back.

The departure of the screaming vocalist and the guitarist was a blessing. No Trancecore band will benefit more from getting rid of their heavy side. I See Stars’ charm wasn’t in the contrasting between loud noises and electronics. It never was much of a contrast, and their aesthetic put them closer to Celldweller than Issues. Treehouse is an opportunity to expand on their electronic side, but it doesn’t really do that either. This is the band’s most accessible and artistic record. If it was made by another band, it would be acclaimed as Indie Rock’s clever take on Trancecore.

The roots of Trancecore are here, but the approach is completely different. Trancecore/Metalcore is party music. It’s about slamming, having a great chorus and screaming profanities. I See Stars were more sophisticated about this than others, but “Ten Thousand Feet” still relied on the fun of the heaviness. They don’t go full EDM on Treehouse. Rather, they become softer, focusing more on beauty and vulnerability. Considering “Murder Mitten” is one of their best songs, this shouldn’t be surprising.

What is surprising is to hear such tenderness over breakdowns and wobbles. “Break” is the album’s defining moment. The chugging riffs with the wobbles are ready for a DJ set, but the context is different. There’s something so pretty and cute about Devin singing “Did your heart let someone in?” over twinkling electronics. It’s almost like they’re moving towards Midwest Emo. When the guitars hit again, it’s not so much ready for partying as it is the sound of the song’s subject breaking.

Wobbles and dance beats appear, but the departure of the loudest members lets the band experiment with a new kind of electronic. The sounds more warmer, more fragile. It has more in common with Skrillex’s soft work. The album’s obligatory detour into pure electronic territory isn’t a club banger. “Walking on Gravestones” is a slow dance track with chopped vocals. It’s more gloomy than Skrillex’s soft tracks, tackling that sort of nostalgia you feel at the end of a great social event knowing you probably won’t see those people event.

There are some heavy moments here, but now the band is liberated they sound even better. “Mobbin’ Out” is the closest they come to their old style, but even that song is bizarre. It has the fragility of the album, with verses sung over beautiful soundscapes. It all builds up like an EDM track to two different breakdowns with bass wobbles. What’s bizarre is that between those breakdowns, you still get the emotional resonance. In a way, it’s a misstep. It’s too heavy and fun to be beautiful but too beautiful to be in a party playlist. Still, it’s fun enough. “All In” is inspired by Trap without actually containing any Trap beats. At first it’s too much of a tease, but hearing semi-rapping over breakdowns is pretty cool.

In their previous efforts I See Stars forgot about catchy hooks. Their melodies were pretty, but not immediate. This is the same story here, but that’s okay. The melodies may not be immediate but they’re beautiful, especially when Devin lets the gentle side of his voice out. Pretty much every song here has such a moment that sounds so cute – “Light in the Cave”, “White Lies”, “Calm Snow”. They return to the teen atmosphere of The End of the World Party, only now it’s wide-eyed but scared. If that album was about a party full of weird people, this is the aftermath – when relationships fall apart and you sometimes have to say goodbye

Treehouse is a beautiful rock album. For once, the band doesn’t just tease something. It’s no longer a good Metalcore record with some EDM interludes or soundscapes. The band has a different promise this time, and they deliver it. Breakdowns, for a change, aren’t just heavy but add weight to an album full of beautiful melodies and soundscapes. I See Stars aren’t a part of any scene now. They combined their influence with a specific vibe they want and made an original album that anyone who likes guitars will find something to enjoy here. If this was a debut album by a new band, it’d get massive hype.

4 portals out of 5