All That Remains – Madness

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At the same time, this album both signifies All That Remains as a talented rock band who broke away from their genre and copycats who have no future besides spewing typical, Serious Rock cliches. Perhaps the album title is fitting, but that would mean the album is actually interesting. It isn’t.

Since I’m writing about it, let’s try to find something fun to say about this. All That Remains aren’t a bad band. Recently they abandoned Metalcore and just did whatever they wanted, so you got songs like “A War You Cannot Win”, “True-Kvlt-Metal” and “This Probably Won’t End Well”. None of these songs was particulalry original, but they were all fantastic. The band slammed. They sung their melodies with conviction, each part stood on its own while connected to everything else. Melodic parts didn’t exist to contrast the heavy parts, but to co-exist together. The band seemed quite content to be in their place. How else to explain the joy of “True-Kvlt Metal”, which had such victorious spite or “War” where they replace Lostprophets in making victorious rock? This new freedom allowed “End Well” to sound so vulnerable.

They still sound free. Across the first four tracks, there’s a roaring Metalcore track with no melodies and all breakdowns. Then they switch to an ordinary combination of their previous styles, while “If I’m Honest” – one of the few good things here – moves to a cocky Country rock thing. It’s impressive how each song sounds distinct, how the band throw themselves at the ideas and prevent the song from blurring into one another. Each has their obvious place and it’s exactly what I expect from a band this far into their career.

Focusing on song ideas never lets up. Even in their ballads, “Back To You” is intimate, quite and low-key whereas “Far From Home” is huge. Normally I’d say this is the ideal place for every old rock band to be. My description sure say the band is the opposite of washed up, and this is more varied than A War You Cannot Win. Yet it’s far worse, and if that one signaled the band finding their purpose, this sees them losing it.

It’s not the old Rockist case of being too varied. The best songs here – “If I’m Honest” and “The Thunder Rolls” stray the most from the genre. The problem is that the band has no good songs, only good ideas. I’m not sure whether it’s more funny or more sad how hard they try in “Safe House” yet completely miss the point. When the breakdown chorus arrives, it needs something more vulgar, more ridiculous than “Welcome to my safe/Do you feel safe now”. Where’s the swearing? Where’s the explicit bragging? Plus, the screaming is closer to low Death Metal growls than Hardcore Punk shouting. We all know that nothing makes the crowd want to shout along more than growls you can’t understand. Every metalcore band improves once they adopt intelligble screams. The song becomes an exercise in seriousness, a desperate attempt to prove these guys aren’t silly partygoers like Five Finger Death Punch.

It gets worse from there. The title-track is about how politics is pretty bad. You can tell by the music video. Although there’s a decent melody buried there, the chorus is a reptition of its title with zero melody or rhythm or swagger. Again, it’s very serious as if that makes for depth. More hilarious is their attempt at seriousness at all. No one takes this type of music seriously. Its essence is theatrics, being overblown and exaggerating emotions because we can. “Far From Home” misses that because it doesn’t go all the way with textures to capture the beauty of always being close to home. Singing with a serious tone is supposedly enough, but it isn’t.

Worse, there is no purpose in thos experiments. When they made “War” or “Kvlt”, the band sounded like they were really into being cocky and telling everyone to fuck off. Finally they sounded like they found something to be passionate over, something more than merely making music. The only song that captures this sense of purpose is “If I’m Honest” and that’s only because it’s the same “I’m a bad motherfucker” narrative, only with acoustic guitars. Although I appreciate the emotions behind “River City”, the good ideas are a sacrifice for a ‘deep and serious’ image.

Many of the songs have quite a killer sound, but the problem is in the lyrics. A kind of a dissonance appears. You want to mosh and party, but all you can conjure in your hand is the band scowling on stage. Whoever thought of the lyrics for “Trust and Believe” should stop using the English language. The song has a great melody with screaming vocals, but the lyrics are too serious. If your idea of fun is shouting the words “trust and believe” – which are already quite trite in rock music – you need medication. The victorious swagger of past albums is gone.

Only two songs stick out and are worthwhile. “If I’m Honest” has been mentioned already. It’s a mid-tempo acoustic rocker that brings back the cockiness of old records. Another highlight is the closer “The Thunder Rolls”, which is a Garth Brooks cover. Yeah, I didn’t see that either but the band does throw themselves with conviction at their ideas, even if their pointless. So the cover ends up hinting that maybe the band should borrow more from Country. Everyone in the song pushes themselves further – you get atmospheric solos and Phil sounding like he’s drinking his last beer watching Megaton blowing up. Perhaps in a good day “Back To You” will also work, its low-key and warm sound is a refreshment after the over-seriousness of everything else.

The band still sounds capable and they play everything with passion, but there is no point to this music, nothing to unify it besides telling you these guys are serious. In an interview they said they’ll go in a more electronic direction but nothing like that is here. It’s an album of cowardice, of trying new ideas but never taking them to the extreme and keeping the serious facade. “Safe House” needed bass wobbles. “Madness” needed more melody, more texture. Oh well, better luck next time.

15. trust out of 5 believe

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Slipknot – All Hope is Gone

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Normalization is the worst thing that could happen to a Nu Metal band. Back in the 00’s everyone whined about bands ‘selling out’, but they were concerned with the band’s image rather than quality. If a band decided to sing more and perhaps tone down the noise, it was wrong because it was accessible. Whether it lead to good music or not didn’t matter. So all the critics going hammer missed out about bands dropping elements, turning their vision more and more narrow.

The 00’s were surreal times, and pretty awesome. You could listen to Lostprophets without feeling guilt and overly serious EDM didn’t dominate the airwaves. A wave of loud rock bands rose, deciding that genres are silly. You can have funky rhythms, rapping, Dream Pop atmospherics and coherent screaming – sometimes all in the same songs. They weren’t afraid of being danceable or loud or poppy. “Eyeless”, a full-on rant with Jungle elements was considered unoriginal. It was unoriginal compared to, what, exactly? Long guitar solos and lyrics against Jesus Christ?

When Disturbed and Papa Roach dropped their quirks, it was a bummer but not too much. They weren’t too good at working with them anyway. Slipknot, however, are the band that suffered the most from the normalization. They didn’t distill their quircks into an accessible sound that still had shades of a unique personality. Korn still sounded out-of-place when they made “Make Me Bad”. Slipknot obviously read all the reviews that whined about how Machine Head does something other than an overly serious Pantera and decided, ‘hey, we’ll do it too!’

Why would anyone want to listen to “Gemataria” over “Eyeless”? What is it about the former that makes it more fun, more aggressive, catchier, more creative, more anything positive? Slipknot was so bizarre in their noisy rants that were somehow friendly to Rock radio. You would expect that the music would still have a shed of personality. If Slipknot makes ordinary music, it should at least sound like they’re playing the genre on their own terms.

Instead, it sounds like a creative band trying desperately not to come off weird, like a dude trying to hide his Slipknot shirt underneath a suit & tie. “All Hope is Gone”‘s chorus breaks into a Hip-Hop beat, and the chorus can be adapted into a Hip-Hop song. Since Corey displayed good rapping skills, nothing prevents him from breaking into a full Rap verse. It would be bolder to end the album with pure Breaks and rapping. The groove that drives it comes less from Pantera, and sounds more like the Funk-influenced ending of Prong’s “Cut-Rate”.

Elsewhere, “This Cold Black” and “Wherein Lies Continue” are more embarrassing examples of how hard Slipknot are trying to fit in. The latter has a slow groove that’s not danceable. It’s only ‘heavy’ in the sense that it’s not pleasant to the ear if your musical vocabulary consists of Backstreet Boys and the one Michael Jackson everyone knows. Imagine a Groove Metal track you’re supposed to brood too, rather than dance to. If you can imagine that, you need not ever listen to the song – or the whole album, actually. You’ll also desperately need something to make you forget this image. The former of these two track is the banding slamming their instruments seriously. There are no fun, catchy lyrics like ‘fuck you all, fuck this world’.

Really, people, why must anger be serious and dramatic? Vulgarity is informal. It mixed so well with Nu Metal because it gave it a lightness, a bouncy fun aspect to the music. Vulgarity makes the anger less serious, and the tracks more akin to venting than making grand philosophical statements involving fear and trembling. “Gematria” is limp and anemic, the band slams but can’t come up with anything truly hard-hitting. Spitting poetry about America being a killing name is so hilarious over these theatrical, brooding metal riffs. “We’ll burn your cities down” is the one highlight of the track, because Slipknot used to sound like they want to burn cities down for the fuck of it. Corey sounds more serious than angry, and you’re only allowed to be serious with Nu Metal if you’re weird enough.

Slipknot could’ve have justified their new, ‘no fun allowed’ approach since they were one of the few Nu Metal bands with an artistic bent. Vol. 3 didn’t suffer from it. In fact, it justified it by having fragile atmospheric ballads like “Danger – Keep Away” and weird noises during party tracks like “Pulse of the Maggots”. Nothing here is as brave and progressive like “Three Nil”, a track that was as angry as it was experimental as in was contemplative. It sees Slipknot utterly unrestrained by either Pop or Metal structures. Corey never once touches the conversational tone of that song, and no song has its unique, ever-changing structure except “Gehenna”. It’s an interesting song, at least, which counts for something in an album so lacking in spark or imagination.

The highlights are only “Psychosocial”, “Vendetta” and “Butcher’s Hook”. They don’t reach the heights of Slipknot’s older material except for “Psychosocial” – a fist-pumping stomper that tries to put a serious face, but still cares more about the party than grand statements. The other songs see Slipknot letting loose for a while. “Vendetta” may seem normal, but not because Slipknot are trying to be normal, but because they felt like kicking a straight-forward rocker. “Butcher’s Hook” sounds more like something out of Vol. 3 and has some fantastic atmospherics. DJ Starscream has always an important rib of Slipknot. His odd sounds made them sound more dangerous than any metal riff can, and the intro to the song is more intense than any Thrash Metal record.

Slipknot deserve so much more. While at first they seemed like they were Nu Metal’s most brutal band, they were also one of its weirdest. Even at their worst they sounded off-kilter and actually dangerous, like a band who can’t contain themselves. On this album Slipknot restrain themselves, and if this doesn’t sound awful to you consider this. “Danger – Keep Away” is an extremely soft ballad where the band jumps into its idea with full conviction. It has no build-up, just pure ambiance and creepy lyrics. Slipknot are unrestrained even in their soft songs. Nothing here sounds as dangerous or intense or authentic as that one. Here, they try to please those morons who whine about Machine Head being unoriginal since they expanded their sound. Such people you don’t want at your party, and you don’t want this album either (except “Psychosocial”, that’s Prong-level of party starting).

2 butchers out of 5

(hed) pe – (hed) pe

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All this time, a great rock album was a click away.

(hed) pe are extremely talented and completely stupid. Their singer is versatile, capable of doing anything with his voice and has plenty of personality. His lyrics are often so misogynistic that listening to Lostprophets is more comfortable. They were a band Nu Metal needed. Nu Metal had plenty of weird bands, but it needed someone to go full retard. Bands flirted with genres, but very few threw themselves with conviction. No surprise the genre spat out a bunch of decent, but fairly one-dimensional bands. In the end, the experimentation was used mainly to drive angry and catchy rock tracks.

How can such a difficult task be done so well on the first outing? (hed) pe are genre-benders and you’d think they’ll need experience before dropping a classic. Yet here they’re fully formed. Everything you want in a Nu Metal album is here whether you’re looking for noise or experimentation or fun. It even beats Lostprophets’ debut (which doesn’t count thanks to Watkins) and Slipknot’s self-titled. It has consistent songwriting, variety and little of the misogyny that plagued later records. All this time I’ve been dying for them to drop a classic and here it was.

It’s a dizzying, confusing album. No album destroys the claim that “Nu Metal was generic and whiny” like this one. (hed) pe don’t even have to experiment with critic-approved genres like Deftones to gain credibility. Nu Metal, at its best, was about making the best Faith No More album that never was. Mike Patton was too preoccupied with being weird which took away from the song. King For a Day is an impressive album, but it’s more about the Jazz in “Star A.D.” and the screaming in “Cuckoo for Caca” than a good hook with a sound that makes it more fun.

The band creates a unique sound for each track, but it’s rarely tokenism. Their pool of influence may be more limited – primarily Hip-Hop and Punk Rock, but it allows them to explore these influence more deeply. You don’t bend genres by simply dropping a rap verse there and screamed vocals in the next song. You have to integrate it into your overall sound. Sometimes they isolate elements, like in “33” or “Firsty”. Mostly, the genres blur into each other. Even on Punk songs like “Circus” you’ll get a few rapped lines here and there.

It’s the sort of album you have to go song-by-song to express how varied it is. There’s the vague Heavy Psych of “Hill”. “Ken 2012” leans towards G-Funk. “Serpent Boy” is a straight-forward Rap Metal track that puts Rage Against the Machine to shame. “Ground” has a Punk-Pop chorus to it which makes it the melodic anchor of the album. There’s another ingridient that’s necessary for the perfect Nu Metal album – a mix of fun and anger.

Another unique aspect of Nu Metal was that it was both angsty and fun at the same time. Bands who didn’t borrow Hip-Hop beats still had its party attitudes. Many songs would sound great whatever mood you are in. That’s one reason no other Rock genre has yet to replace it. Punk-Pop was too silly. Grunge was too depressed. Metalcore and Thrash are so serious it’s funny.

(hed) pe perfectly captures the fun-yet-angry mood of Nu Metal. “Firsty” is the definitive angry song full of shouting about not giving a fuck. Its lyrics are full of refusing to be what people tell you to be. “Ken 2012” has macho bullshit and bragging, only to go full Metal in an angry, but still cocky hook. “Hill” is the only track that sinks to self-pity with the inspiration of Sisyphus. It’s actually out of place – it’s a slow, sad rocker in an album full of ‘fuck you’ Punk songs and ‘I’m awesome’ Rap songs. By the time it arrives you’ve gotten so used to genre-hopping that it fits the mood.

The ultimate highlight must be “Darky”. It’s pretty long, but only because it aspires to be the best Nu Metal song ever. The rapping is surprisingly competent. The beat is funkier and the bars are busier. The chorus has pseudo-Deftones whispering and atmospherics and it ends with talking about dropping bombs and telling someone to fuck off. It’s a song you can’t comfortably slide into any genre. In general, the band is more comfortable and forward-thinking in their Rap songs. It’s bizarre they bragged about being Punk Rock when it’s the rap songs – “Ken 2012”, “Tired of Sleep” and “Serpent Boy” where they play with structures and elements. The band became incredibly stupid later, but still talented. You can’t reconcile their overall stupidity with such sophisticated songwriting.

(hed) pe is an experimental, angry, fun and catchy album. If this doesn’t convince you Nu Metal is worthwhile, then nothing will. Then again, why would someone who’s into loud balls out rock wouldn’t like this? It has Nu Metal’s fury without the whiny-ness and stupid lyrics. It has Rap’s macho bullshit attitude without boring Boom Bap. It’s experimental without resorting to tokenism, creating a sound that’s both diverse and consistent. Such albums can’t be debut. It’s supposed to take great skill and musical knowledge to produce such an album. From here it was all downhill, but at least (hed) pe dropped this before becoming insufferable douchebags.

4.5 fucks that were not given out of 5

Rob Zombie – The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser

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Rob Zombie’s new album isn’t going to win him any new fans. It’s hard to imagine his audience expanding. The face of Rock has changed. Loud guitars pretty much lost their cool unless you’re in the True Metal zone. That zone is about being the least original anyway. Nevertheless, this album is a step in the right direction.

This shouldn’t have happened. How many bands that rely on loud noise and grooves carry on for so long? Pretty much every band from Zombie’s era is dead, or drastically changed their sound. Many of them are still good, but Powerman 5000 are revivalists. They’re brilliant at mining great songs but they don’t push the sound forward. Metalcore bands now jump from section to section and act like hooks never existed and Marilyn Manson quit for blues.

Zombie is still doing the B-movie bullshit. Looking at the ridiculous song titles (“In the Bone Pile” is the most normal title here), two options come to mind. The first is that Zombie is desperate. He knows he’s not as popular and he’s trying to be as wacky as people to catch attention. The second is that it’s the most inspired he’s been since forever. All these paragraphs are a product of a mind that can’t contain his excitement.

“UFO”, the first single, features Zombie talking like a hillbilly about a story involving sex and UFO’s and aliens. It also features one of the best riffs in his career, that kind of riff that causes earthquakes at shows. It sounds like a gimmick, but it isn’t. The song merely reveals what’s the source of Rob Zombie’s greatness all this time. Riffs and hooks weren’t Zombie’s strength. His personality made him one of Rock’s most engaging singers.

The defining feature of the album is that Zombie’s personality dominates it. Previous albums had plenty of great hooks and riffs. They were the source of success in an era grooves and hooks shot Rock music to the top of the charts. Nothing here is as accessible as “Dragula” and all of it is way weirder.

Since the personality drives the music, the wackiness follow. From his early beginnings in White Zombie he had songs called “Drowning the Colussos”. Feeling freer, he now tries to rap on “Get High”, makes Garage-Rock-Fuzz-Noise thing on “Gore Whore” and a progressive epic closer that ends with a piano solo.

None of this sounds particularly new, though. None of it sounds like Zombie is deliberately pushing himself into new territories. Yet it stills sounds like progress instead of mere revivalism. Zombie was meant to be here. The Electric Warlock isn’t his heaviest album like he said, but it is his weirdest. Nothing here serves any genre or general around but exists to contribute to the whole ‘carnival rock’ thing.

Originality isn’t simply sounding different. It’s about having a personality that’s your own, that can’t be easily replicated. Zombie used to sound like just another Industrial Metal-er with a weirder personality, but Static-X had songs like “Dragula”. No one can make another “Teenage Rock God” because you’d need the exact inspiration Zombie has – cheap B-movies and their ridiculousness – and his passion.

Thankfully it’s not all sound. Although it’s less diverse than “Get High” would’ve hinted at, the songs still sound like individual pieces. It helps that every song has a clear idea behind it. While the hooks are slightly disappointing and only “Teenage Rock God” sounds like a single, Zombie’s personality makes up for it. I wouldn’t want to hear anyone else singing these songs.

The album also contains some of his more ‘artsy’ work. Beyond “Wurdalak” and the two instrumental interludes (which are actually necessary, providing respite and fitting in with the atmosphere) there are touches of psychedelia, Doom Metal and Hip-Hop all over the album. The most frustrating thing about the album is the oddest flaw you can have. It’s not extreme enough.

As charming as it is, it still sounds like Zombie didn’t go all the way. He could’ve taken more direct inspiration from Carpenter and added 3 more Horror Synth-length tracks at a decent length. He could pile weirder sounds and he could make the Hip-Hop on “Get High” more apparent. It’s not clear why he doesn’t push into those territories. He’s clearly very excited over this music. Perhaps his passion is still mostly in loud guitars. Although he deviates occasionally, he’s not interested in these experiments enough. It’s a shame, because at this point he’s an experienced artist with a solid fanbase. It’s the ideal position to be with. It worked for Marilyn Manson.

The Electric Warlock won’t attract any new fans, but fans who are into Zombie’s shtick instead of just the loud guitars should have plenty to enjoy here. Even at its short length, these are 12 tracks of silly, loud Rock that sounds like it’s too passionate to care about how cool he is.

3.5 really really really long song titles out of 5

Megadeth – Dystopia

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For a long while, I thought metalheads were stupid.I read reviews in metal sites where bands were called unoriginal for mixing genres. Then they’d give five stars to a Thrash band that keeps it ‘true to their roots’. I really hoped I was just stereotyping because I was an idiot.

“Super Collider” is a great song. It’s ridiculous Stadium Rock that’s fun, melodic and would go well with a beer. Since it was ‘radio rock’ the fans got angry and so we get the obligatory back to basics album. There isn’t a single song here as fun or with as much personality as “Super Collider”.

Mustain is an old guy. He didn’t hide it on “Super Collider”. He sounded like an old guy celebrating rock music and the joys of making money off telling teenagers about how religion is bad. It sounded both honest and refreshing even if you never heard a
Megadeth song before.

Here, he’s just pulling cliches out of his ass. I already heard this record back when it was called Countdown to Extinction. It was just as overly serious then but the band sounded young. There was charm in how seriously they played their music.

You don’t hear this spark in this record. It sounds so calculated. Can you get more cliched than “Fatal Illusion” or “Death From Within”? These are the most hackneyed Thrash titles. There’s a tiredness all over the record, even though the band tries hard to hide it.

They still sound good. In fact, I’m sure many of these songs would work well live. The riffs are loud and the drums bang hard. Mustaine may sound old but he sure tries. Sometimes, he hits the spot like on “The Emperor” (which is the most lighthearted song here. That’s not a coincidence). It’s charming to see how they try hard to make something profound in “Poisonous Shadows”. We even get an instrumental track in “Conquer or Die”, which isn’t interesting but at least it’s not an acoustic interlude. Maybe it will work well in a movie.

It’s so serious though. Do people really enjoy listening to chugging riffs, squeaky solos while stroking their beard? Stupid lyrics can be a lot of fun, but not in this context. This is a very serious album. You may make a mistake it’s just fun thrashing, but then you get to “Post American World”. That’s the kind of brooding I expect from The Smiths or Joy Division. The thing is, sparse arrangements sound well when brooding. Shredding doesn’t brood.

I might have taken the whole ‘apocalypse’ theme seriously, but it’s been drilled to our heads already. The only apocalypse so far is an apocalypse in the arts. The theme of ‘apocalypse’ is now boring. Still, it could have been fine if it was fun. This is music for first-person shooters and action films. It’s all pounding drums and chugging riffs. The only way you can be apocalyptic with this music is by adding something, like how Ministry’s guitars sound like chainsaws.

Mustaine sounds grave though. He sounds worried about the upcoming dystopia (Which we’ve been warned about from time immemorial). There’s no fun to be had here. It’s not even the venting that Ministry had on their Bush albums. Mustaine sounds like he hopes to change the world using guitar solos. All he does is give people a reason to make fun of metal.

Or maybe he’s just tired. He wanted to sing anthems now that he’s got tons of money. The fans wanted tostroke their beards while thinking ‘this is deep. It’s not about girls’. So he gave us a record full of dull lyrics about how the thread is real.

It’s a shame because there’s talent here. There are some really good hooks and most of the record sounds energetic enough. The band doesn’t sound like they’re at the end, but more like they’re not interested in this type of music. “The Threat Is Real” would have been better if it was about telling people to fuck off.

Some have criticized Mustaine’s ‘conservative’ lyrics. The irony is bigger than Jupiter. There are hundreds of bands making songs against America. Bowie had a song called “I’m Afraid of Americans”. Mustaine says vaguely that he doesn’t trust a huge wave of immigrants and suddenly he’s xenophobic and racist. Okay, the lyrics to “Post American World” are stupid, but I’ve heard far worse xenophobia from oppressed groups.

It’s a fun record, but mostly pointless. It’s overly serious in a genre that’s not meant to be serious. “The Emperor” is great and so is a few other songs, but why go back to this? I can get the same effect by listening to Prong or Five Finger Death Punch or Superjoint Ritual or Texas Hippie Coalition, only without the bullshit lyrics and seriousness.

2 super colliders out of 5

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

Disturbed – Immortalized

disturbed_immortalized_album_cover_2

At this point, Disturbed aren’t even trying anymore.

They’re barely trying to impress critics with their ditching of Nu Metal. When Believe first came out, it was pathetic. Disturbed tried hard to impress people by ditching rapping and electronics, as if removing elements from your music is somehow a hard thing to do.

The further they got into their career, the more serious their music became. Disturbed don’t make silly Hard Rock. You get nothing like Drowning Pool’s “One Finger and a Fist”. That’s a vulgar song about not giving a fuck with a half-rapped chorus.

Everything on Immortalized is sung with pseudo-operatic vocals whose sole purpose is to make you take the band seriously. Fun songs have melodies. Pseudo-operatic singing just stretches the syllables instead of letting the melody come through. That’s how bad it is. If Disturbed hoped that their melodies woulde carry through their boring sound, now they don’t even have that. They hope that kids will be impressed by stretched syllables.

Don’t narrow-minded metalheads care more about wanking guitar solos, rather than vocals? It’s not like Disturbed went full technical. There’s a grinding riff in the title track and bragging lyrics in “The Vengeful One”. At its heart, it’s a Nu Metal record. They just stripped Nu Metal of everything that made it fun. Just when you think you get a dance song in “You’re Mine”, Draiman comes in with all his humorlessness. That reminds me of that David Guetta song about being titanium. There’s no parking on the dancefloor and no seriousness in dance music. Stop that crap.

“Fire It Up” is the record’s most rotten apple. Draiman discovers marijuana. I’m happy for him, but musicians have worshipped weed from before Cypress Hill. Still, listening to that song will make you think smoking weed is a serious activity for serious people and that you’re not allowed to laugh while high. “When I fire it up, I feel like serenity is mine”? The verses make Draiman sounds like he’s nothing without weed.

Maybe that’s the problem. Disturbed ran out of ideas and so all they have is weed. Now, I’d be interested to hear a Disturbed album that’s all about smoking weed. “Fire It Up” has more life in it than anything here. Most of the album is typical anthems about nothing played with a straight face. There is Dark Ambient music with more fun than this. I have no idea how you can fuck up a song called “Who Taught You How to Hate” but that’s Disturbed for you.

1.5 vengeful ones out of 5