Fuck That Noise: Bruno Mars, The Weeknd and Ballads By Macho Men

Bruno Mars’ single, “24K Magic”, is badass. Mars doesn’t so much sing as he speaks throughout the song with every line meaning the same thing. He’s cool, he knows how to party and has women. The latter is especially important, because we live in a new feminist world where attractive guys are still allowed to flaunt their women like dollar bills. He’s so confident that, really, why attempt a chorus? The first spin of “24K Magic” makes it sound more like a spoken word track over a Synthfunk backing rather than an actual Pop song. It’s one of the year’s best songs.

It’s also a game-changer for Bruno Mars. From here on out, the only reaction to his ballads is ‘fuck that noise’.

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The Weeknd poses for his philosophy book

Music is acting. I don’t care who you are in real life. What’s important in music is that the character you play in your music is believable, and will somehow makes sense when we connect the songs. Eminem is unconvincing because he’s at one point mocking Pop music, whines about people not liking him and then makes a song with Sia. Ian Watkins is an all-around terrible person, but the sound of “Rooftops” didn’t change just because we discovered he’s a pedophile.

Balancing bragging tracks with ballads is tough. We all experienced the highs and lows of life, but you need to connect these two. If your character is sad, I need to believe this sadness is real and is relevant despite all the parties you had. It’s especially tough to come off as vulnerable or sensitive when a second ago you bragged how much sex you have and how all the women want you.

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I don’t think this is what you do with crosses

The Weeknd also released a song with a similar vibe, but “Starboy” is vastly different in demeanor and content. The Weekend also brags about having a lot of sex and a lot of money. He explicitly says he has a girlfriend and a mistress, both of which are out of your league. Along with bragging about cars, it’s obvious Weeknd’s life is overall quite kickin’.

What’s different is the context. Bruno Mars is carefree and happy in “24K Magic”, and only brags about how good his life is. You can understand nothing else about Mars, other than that he’s probably an inconsiderate asshole outside having fun. A line like “Bad bitches and ya ugly ass friends” promises great sex and treating you like dirt. Weeknd, however, is so dark that it’s obvious there’s something wrong with him despie how much he parties.

The Weeknd starts off his song with “I want to put you in the worst mood”. Already, this song is more than just bragging. He wants you to feel bad, he needs others’ jealousy so he could feel good about himself. Instead of the social butterfly who’s inconsiderate, Weeknd’s song is upfront about how pain exists in our world (and he wants to cause it). When he proceeeds in the verse to brag, it’s always about how his good things should make you feel bad. The line about using drugs to kill any pain makes it obvious that Weeknd does have a shitty day and needs to do things about him. The line “We don’t pray for love, we just pray for cars” is quite nihilistic, expressing a dark worldview of retreating to materialism.

Musically, “24K Magic” is a straight-up banger with funky backing, a great bassline and a synth that farts all the way. It only contains happiness. “Starboy”‘s drums are colder and jittery. It’s also more sparse, almost sounding like Joy Division tweeked for the dance floor. By the time drums kick in the chorus, they’re aggressive. You can party to it – it’s even recommended since it’s also brilliant – but it’s not happy-go-lucky and it’s more suitable to planning revenge than celebrating your anniversary with a significant other.

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Ain’t no fun if the guys don’t get naked too

These differences make me react so differently to the ballads. When Bruno Mars put out “Versace on the Floor”, I could think in terms of ‘fuck that noise’ and ‘are women still fooled by this?’. A little before, Mars was a social butterfly who didn’t care about anyone. He was the person you invited to the party, but once everyone had too much to drink and talk about life he gets kicked out. He’s the guy who never holds a conversation but only screams jokes If Mars will be accused of raping a 16-year-old, I wouldn’t be surprised. Okay, I wouldn’t be surprised over any musician, but Mars is definitely in the top of musicians who have the highest chances of doing it.

I can’t connect the two. If “24K Magic” was less aggressive, more akin to Radical Something’s anthems of summer then it’d be different. Mars’ cocky aggression is integral to why his ballads doesn’t work. The line “Bad bitches and ya ugly ass friends” paint a picture of a guy women love so much he can afford to treat them bad without realizing it. Just ask Dessa. Neve in “24K Magic” do we hear a person who’s fun to be around, but a person who has a lot fun. It’s the type of person who fucks women instead of having sex.

When the Weeknd shows up his vulnerable side, it’s believable. He takes the dark side of “Starboy” and expands it, or takes the small cracks and zooms into them. “All I Know” is believable because it’s a direct contrast to “Starboy” instead of being unrelated. It was what he tried to hide so hard by bragging about praying for cars. “Secrets” is the flipside, with Weeknd being the man pining after the woman who has all the guys.

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About as romantic as quoting Gamergate supporters.

They also sing their ballads differently. “Versace on the Floor” is full of vocal acrobatics. Vocal acrobatics are impressive and a great way to terminate your acting abilities. Since they point out you’re actually a singer, you forget about the mood and the content. “Versace” is less about having time with a girl and more about seducing a girl using the promise of romance just to ditch her (Ed Sheeran’s character does it all the time). Shifting singing styles so radically only serves to show you were acting all along. Weeknd always sings as Starboy and never tries to show off. Imagine “Belong to the World” if Weeknd sang it like Mars. Actually, it would probably still be good because of the lyrics.

Perhaps it has something to do with me being a guy, but then again I consider Lostprophets’ “Rooftops” to be a highlight in music history. That song was made by your worst nightmare, a guy so sexy he could do anything he want and have women supporting him. Watkins never did Mars’ vocal acrobatics there. When it explodes, he screams more than sings and that’s crucial. Of course, good actors are also the best at sexual abuse, so maybe Mars isn’t that in person after all. I don’t know. All I know is that, as an actor, he’s horrible. Give me songs like “24k Magic” any day, because, from him, songs like “Just the Way You Are” makes me worry what happens backstage. I shouldn’t, since there’s always a good reason to worry about things happening backstage.

If that’s not enough, listen to “Versace” while watching the video for “24K Magic”. Tell me how different he is from how Nice Guys(tm) describe your boyfriend.

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

Ed Sheeran – Divide

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Reviewing an Ed Sheeran album only takes two sentences. Any song where isn’t trying to lure a girl to sex disguised as a romance is excellent. Any song where he pretends to feel deep, serious emotions is obviously bad. Of course, two sentences isn’t a review and there’s more going on here. Ed Sheeran is a star and his love songs are especially popular, so we need to figure out how exactly this crap works and why cheesyy love songs are still pumping out when he should be putting a backwards baseball cap and collaborate with Eminem.

I said this a thousand times before and it dawned me. It’s hypocritical to claim Ed Sheeran comes off like an asshole, even a dangerous one when Lostprophets is one of my favorite. These guys are a classic case of music as acting, when the front is completely different than the real person. Solution to this conflict is easy. Fist off, acting is all that’s important when judging music. Ed Sheeran can be a fantastic person for all I know, but I review his character here. Second, Watkins never broke character. Sheeran does.

“Shape of You” is the most interesting song here since it merges Sheeran’s two sides, and reveals all I said about him. He courts a lady with soft, sensual singing and sounds romantic. Yet listen to the chorus. It’s all about the girl’s body. Imagine if the song was sung by a heroin junkie homeless in the street or an overly obese dude with glasses and anime dakimakuras. The song is quite creepy in how it goes on and on about how Sheeran desires a body and not the person.

There have been countless songs about sex, but the key is that they sound authentic. When 50 Cent made “Candy Shop”, it was all about having fun sex. He never tried to sound romantic – only more into sex as having fun instead of status symbol. “Shape of You” has a fantastic melody, but it’s equivalent of a hot guy going on a date with a girl and only telling her how beautiful she is. Something about its bluntness and how Sheeran still sings romantically makes him sound like a person trying to lure girls desperate for romance to easy sex.

Everything else here is easy to digest. There are the ballads, and they’re all quite bad. Sheeran can’t seemt to find a bit of vulnerability in him. Every ballad is sung with confidence. A slightly low voice doesn’t equal vulnerability, especially when “Dive” and “Perfect” explodes into choruses. The latter actually has a decent melody that would be good in the hands of a different singer. He can’t even fake sincerity like Coldplay.

It’s too clean. When he sings that hearts don’t break around here, it’s more believable – only it must be Sheeran’s heart since women come back to him anyway (See “New Man”). It’s hard to pinpoint exactly what is it about him that makes his ballads sucks so much. Wisely, he doesn’t do any vocal acrobatics like Adele and his voice is quite beautiful. In style, he’s closer to the Weeknd, who is the model when you want to be both a sex icon and a mess. I guess it’s because Weeknd always lets darkness in, even when he brags. “Perfect” never touches on the possibility of heartbreak. It’s music for the end credits of a bad romantic comedy, as if once a romance starts it never ends and the story’s over.

Previously, he could sound more sincere (if unimaginative) when talking about things other than love and how awesome he is. “Happier” should be his moment to show heartbreak. The guitar strums in a defeated way, not trying to produce a melody and it aims for the warmth of an early Dashboard Confessional. Everything is hushed, the singing is lower and the piano is pushed back. Yet it doesn’t work. You can still see the stage behind him. Where is the bitterness of heartbreak he is so good at showing at “New Man”? The falsetto at the end is a joke, a gorilla beating on its chest, sounding more macho and confident than a Groove Metal band who are hell-bent on beating Pantera.

Then again, even with better acting these songs will most likely suck. They don’t contain a melody, but all lead to an explosion, like Coldplay that’s more readily available to stadiums. It’s not the source of the bad acting since it was present in his earlier songs. When he gets personal, the only reaction to it is ‘why the fuck should I care?’. Many artists wrote songs like “Eraser” (quite good) and “Castle on the Hill” (awful), but none of them sounded so self-centered as he is. Why should anyone of us care about Sheeran’s life, considering he made so much money singing pretty ballads?

‘Privilege’ is a word I didn’t want to use. After all, a lot of my favorite rappers are white dudes whose albums are psychotherapies with the listener. Grieves and Atmosphere come off as humble, sharing their stories with the listener with hopes of relating. “Eraser” has a toughness in it, Sheeran trying to convince us he’s tough because he survives the pain of being famous. Considering on later songs he brags about fucking – and sounds happy about it – I’d say it’s another attempt to impress us. The song is good, though. As for “Castle on the Hill”, it has the same idea as Adema’s “All These Years” without the darkness. Nostalgia is a painful thing. I know that since I spent 3 years in a military home and seeing a distance growing between me and my old self, me and my friends and all I’ve known is quite hard. “Castle on the Hill” paints it like it’s all happy and nice, taking a trip down memory lane. Don’t say ‘privilege’, don’t say ‘privilege’.

So it’s all crap so long as Ed serious. Smack in the middle of the album you get “New Man” and “Galway Girl”, two brilliant songs that will easily rank as among the best of the year. Switching up his demeanor, now he’s a playboy who fucks women and women call him up – despite having boyfriends – to fuck. It’s believable for once, actually has spirits and Sheeran is into it. The latter is about picking up a girl at the club but there’s none of the creepiness of the lead single. Instead, it’s just about how she fell in love and they had sex. The former is a bitter break-up song about how the ex-lover’s new man isn’t that good. The confidence, the venom in that song is fantastic. It’s not a rant or a plea for the lover to return. Condescension is the dominant emotion, with Sheeran sneering all the way to next  one night stand. It’s not a song to sing to convince yourself you’re over the break up, but to celebrate how you moved on. No coincidence that both of these are Hip-Hop driven.

Nothing here is too different than previous albums by him. His sound is expanding a bit and there is more than acoustic balladry now, but overall the man remains the same. He cannot break free of being a performer, he cannot get into the act. The difference between him and the horrible Watkins is that Watkins remained in character. Having “New Man” and “Happier” in the same album is jarring, since they’re opposites but there’s nothing to connect them. Eventually, one side takes over and the most convincing one is the braggadio and macho bullshit. It’s funny how that song take shots an ultramacho new boyfriend, because that’s exactly how Sheeran sounds like. I have no problem with that, since “New Man” is actually brillaint. I only wish he would let go already. “Galway Girl” has more spirit than any song here.

2 new men out of 5

(hed) pe – Broke

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There isn’t much left to do, or anywhere to go after (hed) pe’s self-titled debut. It was an explosion of Nu Metal – mixing angst and partying, Hip-Hop and sludge, melody, rapping and screaming without a care. They didn’t enjoy the success of their peers for a good reason. The album went in all direction and drowned in its own idea. It had no hit, no immediate hook. Only those who are used to such genre-jumping could’ve gotten into it.

One thing it did lack was hooks. They were catchy, but the songs didn’t revolve around them. That’s one direction the band takes in Broke. Another is fill a hole in the genre. Nu Metal is silly and exists for partying. Metalcore couldn’t replace the genre because it was too serious. Yet, no band exploited the genre’s potential as great party music. You occasionally got a “Got the Life”, but not many realized how fun all this jumping around from genre to genre can be.

Broke‘s main selling point is in its demeanor. It’s roaring guitar music about drinking, fucking and not giving a fuck. If it sounds ‘more mainstream’ than their debut, that’s because the concept needs hooks and catchiness. A progressive song like “Darky” is a lot of fun, but not something you’d play in a party. It’s too atmospheric and complex.

The band hasn’t lost any of their focus. Their executions are simpler, not reaching as wide but they don’t need to. The first five songs are all brilliant. “Waiting to Die” has growling and rapping at the same time, macho and self-pitying lyrics at the same. It’s literally the Nu Metal genre condensed into one song. “Feel Good” has the pseudo-socially conscious lyrics. “Bartender” has Boom Bap, a ridiculously catchy and feel-good chorus and an aggressive part. It was the band’s biggest hit, but it should’ve been bigger. With the Boom Bap beat and the joyous melody, it should’ve been a hit among those who liked Limp Bizkit but found the rest too grim. As for “Crazy Legs”, it’s one of the cockiest and obnoxious rock songs you’ll ever hear. It’s brillaint. When Jahred repeats over and over “You wanna slow me down?” the band sounds unstoppable, as if the later part of their career wasn’t going to happen.

The production is cleaner this time around, which helps showcase how versatile Jahred’s voice is. Critics occasionally paid attention to Nu Metal, so how hasn’t he gained acclaim as the genre’s best voice? Occasional misogyny aside (Which doesn’t rear its head here too much), he out-Patton Mike Patton here. More than any band, he mixes all vocal styles in the same song – “I Got You” features both singing, screaming and rapping. In rare instances, he does them all in the same time like in the aforementioned “Waiting to Die”.

There are two other candidates for Nu Metal’s biggest albums – the band’s own self-titled and Lostprophets’ debut. Since the former is too complex for outsiders and the latter was created by a notorious sex criminal, Broke may be the genre’s defining moment. There’s a little bit of anger, a little bit of gloom and a lot of venting frustrations with bullshit macho lyrics and genre-hopping. In general, it has everything you should want from a soundtrack to rock parties and frustration.

3.5 bartenders out of 5

Korn – The Serenity of Suffering

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So Korn has turned into Sevendust.

The problem hearing albums like The Paradigm Shift when they come out, is that their role isn’t clear. Parts of it point to Korn still experimenting, just unsure what to do with their sound. There are still bassdrops in “Never Never” and “Spikes in My Vains” had something like rapping in it. The new edition also had “Hater”, their poppiest and catchiest song yet. On the other hand, a song like “Love & Meth”, as good as it was, had nothing going for it but the melody. Many tracks showed no interest in sound but just kicking melodies.

In an ideal world, Korn would work on both directions. They would have some weird tracks, some poppy tracks and continue to insert new genres in unexpected places. What the new album proves is that they weren’t confused at all in The Paradigm Shift. Rather, they were lacking inspiration so they couldn’t do anything with the rapping in “Spikes in My Vain”. They have seemed to lose almost all interest in their music.

What’s so disappointing about The Serenity of Suffering is how familiar it is. Nu Metal should never sound familiar. It was always about mixing genres but being catchy at the same time. That’s why silly metalheads and serious critics couldn’t make sense of it. You can stop many of these songs after the first chorus. Sometimes, you can stop them halfway through the chorus. Korn exhausts their ideas within a minute into the song.

I stopped listening to “Rotting in Vain” as soon as the hook kicked in. Korn repeats the same chorus structure for “Please Come For Me”, “Die Yet Another Night”, “When You’re Not There” and so forth. “Take Me” merely repeats its title. It was released as a single and I have to wonder what motivated them to do it. The song barely makes it to B-Side status with how lazy the chorus is. Frankly, I can’t imagine anyone wanting to write such a dull hook, not even a songwritier strapped for cash. Someone should’ve reminded them they already had a song called “Hating” back in Untouchables.

Untouchables is a reference point for many reviewers, but what people praise about is exactly what’s wrong with it. Back then, it was necessary. Korn had a bizarre sound but few hooks. “Freak on a Leash” sounds great because of the bass-heavy hook. Its melody exhausts its ideas in the first second, just like most hooks here. Now, I’m not sure what the purpose of this album. Korn proved they could write straightforward rock, so what’s the point?

Yet, there are a lot of hints here of Korn, of their unique personality. “Rotting in Vain” is as generic as you can get until the middle, where Davis breaks into his skat singing. “Insane”‘s hook may sound like a melodic carbon copy of “Let’s Do This Now”, but the band thrashes and adds some aggression to an otherwise ordinary song. Many of the songs also sound way better in the album’s context than standalone. Even “Take Me” sounds better here, since it’s surrounded by other Korn sounds and what dominates is their personality.

Speaking of their personality, it’s not adjusted for this material. Nu Metal was always shallow, so the best Nu Metal was always aggressive, angry and with an edge of fun it. The best Korn songs are “For No One” or “Right Now”, where the band was allowed to boast a little. Davis is an unimaginative lyricist, so much so that “Rotting in Vain” begs to be parodied (Only it’s not attention-grabbing enough for this). So all these songs are only about hooks. There’s no emotion here. The band has nothing interesting to say and in shows. That’s why the album often feels like above average ordinary rock. It’s being played by people who are more fun at parties, but not one you’d share your emotional troubles with.

Two tracks do stick out. “A Different World” is absolutely brilliant. It’s one moment where the emotion is convincing. Davis has a lyrics focus, and the song doesn’t just hurry to the chorus. That little build-up with the rolling drums contrast with the hook, which is itself a contrast. Davis sounds distresses, lashing out but literally backing against the wall while guitars smash behind him. They deliberately chose a steady rhythm. Corey’s guest vocals are used brilliantly, becoming more present with every appearance of the hook. It has a guarantee in the next Greatest Hits package. There’s also “Next in Line”, which proves that Korn can sometimes conjure a beautiful melody. If every song had such a hook, I’d be more forgiving.

On the one hand, I’d rather hear Korn playing a bunch of ordinary rock songs than other bands. On the other, I’d rather hear Korn playing anything but ordinary rock. They still stick out like a sore thumb. You have to do when your guitars screech and Davis’ voice is still one of a kind. It’s not a bad album and it has “A Different World”, but it has no purpose. It doesn’t add anything new to their sound and its set of songs isn’t particularly strong. Korn just goes through the motions, which is fine but I don’t want Korn to be ‘fine’.

2.5 different worlds 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

Issues – Headspace

Issues_Headspace
So far, the Nu Metal revival was great but a little disappointing. We got bands that mined the genre for emotional. It sounds impossible, but there’s beauty in Islander’s “The Sadness of Graves” or Of Mice & Men’s “Another You” that no other band in the style had. Others just knew how to rock. What the revival didn’t have was a band that captured the original weirdness.

Nu Metal was, at its heart, a weird genre. The reason critics and True Metalheads whined about it was because they couldn’t keep up. Bands switched vocal styles and genres but still kept it simple. You don’t hear a song like Slipknot’s “Only One” anymore – a mish-mash of three genres that’s accessible enough to play Tekken to. Issues finally deliver what the revival needed – an album that’s as bizarre as it is catchy.

It was so easy to go the other route. It was so easy to feed the mosh kids what they want, play 100 more breakdowns with the occasional R&B break. Instead we get “The Released”, which explodes with a funky riff, rapped vocals and then towards R&B singing all backed by Djent guitars. The second single “COMA” sounds even more like Periphery remixing a Justin Bieber song. Previous Trancecore band still had some aggression in their vocals, but Carter forgets he’s in a rock band. If I were a Slayer fanboy, I’d be offended.

The problem with mixing genres is getting the balance. Some bands merely add elements – a rap verse here or a bass drop there. The most frustrating ones add so much you can’t ignore, but never enough to break out of their subgenre. In their beginning, Issues’ R&B elements were hard to ignore but were also not enough. “Stringray Affliction” may be brilliant, but it’s a Metalcore song spliced with an R&B outro.

Headspace isn’t completely genreless, but it’s diverse enough to make it only fit ‘Rock’ or ‘Nu Metal’. It’s not even that the band isolates the styles, playing a Djent song and then a Pop song. The songs don’t even switch sections. It’s the method of picking small elements, mixing them and creating a whole song. “The Realest” is the best example of this. Despite mixing Funk, R&B, Djent and Hip-Hop it still sounds like a whole song rather than hopping from one thing to another. What’s more impressive is that these outside influence aren’t filtered. The rapping in “Blue Wall” and “Someone Who Does” is convincing. The two vocalist can produce a Rap record and no one would guess they have a Rock background. It’s also no surprise Carter released a solo record, because he never sounds like a Rock singer imitating Craig David.

As exciting as the sound is, there’s also disappointment. Issues never go full weird. There’s nothing like “Kobrakai” or “Nobody’s Listening”. While the band managed to distill their influence into a coherent sound, they’re afraid of expanding on it. The songs never differ too much from another. “Blue Wall” is feels like the most radical departure here, only because it commits itself fully to brutal slamming. None of the song commits itself to anything, but the band merely plays variations on a sound.

They got hook to back it up, though. The sound isn’t the only attraction here. Issues use their sound to dress up already great hooks. In fact, the album is ridiculosly consistent. The only missteps are, perhaps, “Yung & Dum” which feels too redundant in going on and on about how fun it is to be young. It’s easy to forget there were singles when the songs remain catchy all the way through. They also borrow Periphery’s songcraft. While still relying on choruses, the verses are often different and the songs conclude (“Lost-n-Found” gang vocals are an album highlight). The band doesn’t just wants to have a gimmick or hit singles. They produce actual songs.

Anyone who’s moderately interested in music should hear this. People who like heavy music can use this as a gateway to beautiful melodies. People who love hooks and clean singing can use this as a gateway to harsh vocals. Many will still dislike it. The typical criticism of ‘they have no direction’ and ‘they’re gimmicky’ will surface, but these are just Slayer fans being stupid or Indie fans not knowing how to have fun. It’s the Blue Lines of Rock – an album that mixes genres seamlessly, creating a consistent sound and plenty of great songs.

4 wastes of headspace out of 5