But now he’s back with this new album and I have to say. I am not impressed. His earlier stuff was listenable. The albums Antichrist Superstar and Mechanical Animals were iconic, from the songs to the album covers. Which riled everyone’s mother up. He disputed god, he hated religion, he hated the establishment, he was everything teens wanted to hear because let’s face it, as a teenage boy, you’re angry at everything.

He pandered to his crowd, shifting to a message of rebelliousness and how hard it is to be a teen. How people seem to look down on you for your age. How nobody stops to try to understand you and you feel like you’re living in a hell of eternally having to flip burgers.

We related to that as teenagers.

and latex, we all relate to latex

But he doesn’t have much of a crutch to stand on now. He didn’t take the quick and easy route (as did one, Skrillex) by switching his musical style to the fad of the generation.

I’m just not impressed by this. It’s all about self deprivation and abuse. It’s about things that a guy who’s sold well over 5 million albums in the United States alone has no right to be talking about. You wonder why nobody knows or cares what happened to Good Charlotte? Because 1) they were terrible and 2) their credibility went out the door when they became millionaires. That’s what tends to happen with these sorts of bands and male divas. They’re only sustainable for a couple of albums before their popularity and wealth spoil the message. They’re no longer in touch with the audience that received them so well.
I don’t mean to preach, but Manson should know that he’s not creating any new fans with the new album. He’s not even retaining old ones with it. Just take your show on the road and keep playing the life out of “Personal Jesus” and “Rock is Dead.”
You were a martyr for the late 90s. The shift that seemed to come too swift with that Colorado high school. You were the sign that the media has become too big and overbearing on our lives. That politicians were morons for blaming you. You were the only positive thing to come out of that whole story, stop trying to live up to it with titles like Born Villain and be just that. You’re too self aware and it bores me now.

2/5

You can of course judge for yourself – the video is below. But even for die-hard VH fans who believe that the only REAL Van Halen is one with Roth, this has to be very disappointing. Enjoy.

Van Halen – Tattoo from Van Halen on Vimeo.

But that was 2002. What have they done since then? Well, the next album, released in 2004, was This Type of Thinking (Could Do Us In) It another success thanks to singles like “The Clincher” “Get Some” and “Vitamin R (Leading Us Along)”

Since then they’ve started to wane in popularity despite another solid album with Vena Sera and songs “I Get It” and “Well Enough Alone.” The 2009 album Sci-Fi Crimes did well on the Billboard charts, but received relatively little radio play and didn’t strike the same notes that their previous three albums did. With last week’s release of Hats Off they’re back to what they do best:

being gritty, melodic, and harmonious. Their sound is tough to replicate because they don’t have the typical hard rock formula of the band cutting away for the verse vocals. They keep playing straight through and leave it up to front-man Pete Loeffler to sing over it. The short guitar strokes and driving, deep bass keep songs dark and powerful. The drums don’t do anything more than what they have to: deliver a beat for the rest of the band to brood to.

Overall, tracks like “Face to the Floor” and “The Meddler” bring back the nostalgia and attitude of the previous Chevelle records that put them on the map. But there are a couple tracks that I would call “experimental” for them. “Piñata” and “Prima Donna” are cool for their uniqueness in sound. Great changes of pacing with both.

“Piñata” sounds like they borrowed the intro from “Flight of the Bumblebee” and slows into the verse. They sound like they took inspiration from the now defunct band System of a Down for this song. With Loeffler’s vocals resembling that of Serj Tankian. Much harder on the guitar solos and I like it. It fades in and out of chaotic arpeggios and the smoothness of the drum and bass locked into just a repetitive and cool beat.

The very next song “Envy” has this exceedingly slow build. Very dark and quiet. It builds for a very long time before it hits the chorus where the band returns to the type of music we’re used to hearing from them. It’s still a smidgen slower than what they normally play. It’s built on a silence and the quietness of the guitar, but still comes at you with a menacing bass line. This may be my favorite song on the album, it’s kind of the anti-ballad, while still being a ballad.

Strangely, I think the album’s title track may be one of the least likeable on the album. It just doesn’t seem to fit. It sound like they tried to incorporate some Rage Against the Machine into their own sound and it misses the mark for me. There’s nothing remotely resembling anything that they’ve done before. No bonus points earned here. Though they fire right back with the song “Revenge” two tracks later. This may be the next single off the album. They use a distortion pedal on bass and some hard echo/reverb for the guitar. It adds an element they haven’t had before, and with today’s progressive push towards electro music, it’ll fit well on today’s airwaves.

“Prima Donna” is an acoustic song that really surprises with how well it works considering it’s a venture that Chevelle hasn’t toyed with before. It’s taken me a few listens to even accept this sort of idea from them. But, like the rest of the album, they make it work and it grows on you the more you listen to it.

The album then immediately picks back up with the closing song “Clones” that really has movie soundtrack written all over it… which is appropriate considering they wrote a song for the movie Underworld 4.

Overall, this album is a return to the likeness of their two most successful albums. I can see another single or two coming off this album and becoming remotely successful in today’s digital landscape. I hope it brings them back into the spotlight and they get to tour with some acts that will be worth Ticketmaster’s raping prices (a story for another day!)

4/5

Mike tunes up at the Egg

Isn’t it great when things turn out even more awesome than you ever expected? This is exactly what happened at the Egg in Albany on Sunday night, as Mike Gordon (best known as being the bass player for Phish) and his band blew the doors off the place with three hours of incredibly diverse music, long, intense jamming, and just plain fun. The theater was about 75% full of Phish heads (it might have been more had the show been on a Friday or Saturday), and the small venue provided an intimate setting for the final show of the band’s brief fall tour.

Gordon and guitarist Scott Murawski, Brooklyn drummer Todd Isler, keyboard player Tom Cleary, and percussionist Craig Myers started things off with Horizon Line, which turned into a long jam segment that featured a lot of tempo changes, dueling solos between Murawski and Cleary, and most unexpectedly, moments of dark, progressive sounds that blew me away. From what I’ve heard of Gordon’s solo work, it’s fairly mellow with a slant toward country/bluegrass, jazz and rock. This show explored vast soundscapes of varying textures and themes – it was far more than I ever expected. The Phish song Only a Dream followed, and the band once again jammed out the middle section, taking the song to new heights and arrangements that made the studio version of the song seem even more insignificant. I’m Deranged, The Way it Goes, Just a Rose, Voices, and River Niger kept the first set rolling, with most of the songs continuing the jamming and overall magic; some of the jams did lose momentum and probably went on a little longer than necessary, but that was far from the norm. The band then did a great version of Marvin Gaye’s Baby Don’t You Do It, keeping the soul of the original in tact but giving it a more intense, country rock feel, with Cleary passionately hammering out the vocals. Then they segued back into Horizon Line to bookend the set, which clocked in at about 90 minutes.

Scott Murawski and Tom Isler

After a brief intermission, the crowd roared back to life with the opening notes of Funky Bitch, a Son Seals song that Phish has played hundreds of times. Gordon’s band’s version was fairly close to Phish’s version, but different just enough that it didn’t feel like we were watching a Phish cover band. The Phishiness continued with Gordon’s tune Sugar Shack (from Phish’s Joy album), with Murawski easily handling the guitar melodies and jamming it out a bit. Then they played a cover that I never could have predicted (although if I knew Mike Gordon’s solo history better I might not have been as surprised) – Hand in My Pocket by Alanis Morissette. I’ve never been a big fan of Alanis, but I’ve never really disliked her either, and Hand in My Pocket is actually one of her songs that I do enjoy. The band rocked the hell out of it, with Murawski belting out the vocals with great passion and intensity. Dig Further Down, Crumblin’ Bones, Skin It Back, and Hap Nappy continued the terrific set, with all band members firing on all cylinders as the jams kept going. Gordon announced that the final song was dedicated to a longtime friend in the audience, a song they played together in high school – the Who’s Don’t Get Fooled Again. It was a good version, a fun way to end the set.

The Dude of Life!!!

For die-hard Phish fans, the encore was by far the highlight of the night. An additional microphone was brought to the stage, leading everyone to assume a guest vocalist would be joining the band. It turned out to be none other than Steve Pollack, a.k.a the Dude of Life. Pollack has been collaborating with Phish from the very beginning, and on Sunday he graced us with his presence for a song he wrote with Phish, Suzy Greenberg – the crowd was bouncing off the ceiling.

The whole show was a wonderful surprise for me. I expected a more laid back, moody and offbeat show, much like Gordon’s solo albums. But the jams went to crazy places I never imagined, and Murawski, who many know from the band Max Creek, is in fact a guitar god. He would go from dark riffs to lightning-fast solos with the utmost precision and clarity; his grooves were so impressive and crucial to the overall sound of the band. He was a genuine joy to hear – I’ll have to check out Max Creek now. I’m looking forward to seeing Phish in the near future, but when Gordon brings his act to town again, you can bet I’ll be there too.

Mike Gordon at the Egg gets 4.5 out of 5 stars!

Go to YouTube and type in a top 40 song, in fact any popular song and you will find a plethora of dubstep remixes and most of them are AWFUL. But according to the “dubstep” experts out there, the “dubstep” made in America is an inaccurate interpretation of what it actually represents. The genre became heavily bastardized from its London origins since gaining traction in the states this year, like most electronic music. Now it’s commonly referred to as “brostep,” a subcategory of dubstep described by its frequent use of obscenely loud distorted bass wobbles and glitchy electro sounds that makes dudes go buckwild, though females aren’t excluded. Many people claim this subgenre is a cacophony of “lazer farts” or sounds like “transformer fornication.” Hilarious, but I kid you not. A lot of people like me, do not enjoy dance music that feels as though their ears are being raped by harsh sounds. I was never a fan of metal, but I can tolerate it so much more than Skrillex’s music.

Skrillex has become a figurehead of “brostep” and especially appeals to the rave curious high school and college demographic. While he displays a lot of “Brostep” elements in his productions such as obnoxious formulaic drops and hard metallic bass, his music is also categorized as “Fidget House,” which incorporates a mix of dubstep, electro and house styles.

In “Rock N Roll (Will Take You to the Mountains)” it starts off as said fidget house: a generic electro house beat, repetitive vocals, claps, glitchy laser synths which leads to more choppy samples, a build up and then the anticipated “Rude boy bass” drop: robot burps, video game samples, elephant trumpet calls and other distorted noise. This combination of schizophrenic, stutter noise defines Skrillex’s “signature style,” something that not only grinds my gears but sounds like gears grinding.

Then there’s his breakout hit “Scary Monsters N Nice Sprites,” the song used in a Go Pro action camera commercial and apparently a modern DJ’s wet dream. Sigh. Countless producers have remixed it and I’ve even heard it play at bars. Now it’s nominated for a Grammy (which lose more and more credibility each year). Okay, I get the intro synth is SORT of catchy but again, more elephant bellows and goblin robot bass. I’ll admit his use of the famous speed stacking girl’s “OH MY GOSH” is pretty funny, but is it really necessary to use in multiple other songs? Good grief, Sonny Moore. Mix it up, kid.

Now let’s talk about the happy, uplifting message of “Kill Everybody.” No wonder Korn collaborated with Skrillex on their latest nu-metal-dubstep album. Metal and Dubstep have combined forces to make music exponentially worse than the two separate genres! The introduction begins with ramblings by the malicious Megatron over a standard dance beat. Throw more wobbles, processed engine noise and an annoying chipmunk repeating, “I Want to Kill Everybody.” Ugh. The title explains how this song makes me feel. But again, one somewhat redeeming synth part and that’s it. More noise, Decepticon confessions and predictable use of samples that frequent EVERY Skrillex song. Basically, certain parts sound like Megatron ate a bad taco.

The 3 aforementioned tracks are on Skrillex’s unfathomably popular and recently Grammy nominated Scary Monsters and Nice Sprites, an EP produced entirely on his lap-top. It’s no wonder he’s often criticized as a “push play” performer. Yes, I unfortunately caught him very briefly at Camp Bisco this past summer and he does indeed, press play. Sure, he occasionally turns some knobs and adjusts some faders. But his classic “rock star” move? Triumphantly lifting his arms in the air to screaming, sweating frenzied bug eyed teens, all while chain smoking cigs. In fact, I wonder which thing Sonny would give up if he had to choose between cigs or his beloved use of the transformer rape and video game laser sound library.

After witnessing the mania of Skrillex’s set, my ear drums and I felt immediately violated from hearing the abrasive noise and bass overkill, never mind the teenage wasteland unfolding all around me. Hey, I’m all for a good time on the dance floor but when people are collapsing and convulsing around you, irresponsibility can only be tolerated for so long. Poor EMTS at Camp Bisco had their hands full this year. Anyways, I walked away knowing I was immune to the possibility of experiencing an epileptic seizure. The recent bass culture movement has become a new low (pun intended) at festivals; especially this year at Camp Bisco where I had to suffer through Borgore’s bro-tastic dubstep during an early evening main stage set that was 300 feet from my campsite. I just don’t…get the hype or gratification people feel from experiencing Skrillex or “brostep” productions, live or recorded. I must be getting old.

Speaking of inspiring performances, I don’t know which is more exciting to watch: Skrillex smoking cigs and raising his arms for every similar, predictable drop or house producer Steve Aoki running around, spitting and pouring champagne at the audience while his “music” magically plays in the background. I mean, I’m all about tomfoolery onstage, but are you actually mixing anything live at all? Obviously the audience doesn’t care because they’re too busy getting their faces melted with bass. Duh.

Worst of all, Skrillex collaborated with remaining members of the Doors for the “Re:Generation” music project which teams up modern producers and DJs with older, reputable musicians. The keyboard and guitar tracks sound fake and over-processed and of course, Skrillex adds his transformer effects and lazers. To me, it’s cheesy and brings nothing exciting or innovative to the table. It’s a 21st Century flop.

I don’t care how many people like him. The fact is my ears bleed and skin crawls when listening to Skrillex or “brostep.” Personally, I like music that’s pleasant to my ears and displays a range of high, mid and low end frequencies. One friend of mine summarized, “I listened to Skrillex once. Nearby electronic devices came alive and tried strangling me with their cords.” If the other songs haven’t convinced you of a truth to his experience, then listen to the drop in “First of the Year (Equinox)” and see if your electronics turn to the dark side…then call 911 NOW!

I guess to each his or her own, though it’s a shame we live in a world where most talented musicians and producers don’t get the credit or attention they deserve. I mean, have you seen 2011’s Grammy nominations? Oh wait, the Grammy’s have been a joke for years now. Anyways, as the bass culture wave expands and people continue to get their fix of filthy, grimy, dirty drops, maybe we’ll all be too distracted to notice actual evil robots taking over the airwaves so they can “kill everybody.”

Let’s hope they start by pushing Skrillex off a bridge. It’d be his best drop yet.

I listen to the LivePhish.com radio station on a very regular basis and have found it easy to use and often updated with fresh live material.  This special stream they are offering at 2:00 should be a treat, check it out if you can!

So as physical media phases out we turn to more convenient ways of obtaining music (not always done legally now is it?) from services such as Morpheus, Kazaa, Limewire, and most famously: Napster.

So we learned that the RIAA severely dislikes not making money on album sales… so we downloaded even more, torrenting sites becoming more and more popular, The Pirate Bay, for example.

Now I don’t know about you, but in my education I’ve found out that artists usually sign a contract and make most of their money up front. A label will give you, say, $2 million, to buy equipment, record, produce, create music videos, and finish an album. How much of that gets spent on production is usually at the band and manager’s discretion. They are then, most of the time, offered some ridiculously low royalty percentage that means even less after you divide it up between band members and management.

So artists generally don’t make that much off of album sales, but usually off of touring. Ever notice that’s why Bruce Springsteen doesn’t seem to give a rat’s ass about putting out new albums but will sell out stadiums on a yearly basis? Or that U2′s music has been in steep decline since the late 80s but still manage to have gigantic concerts where they rake in obscene amounts of fans a.k.a. money? (And they don’t even pay taxes to the Irish government!)

Before my tenure at Hi-Fi started I was dealt several cease and desist letters for uploading music just to my former blog’s domain just for personal use. Talk about touchy by the record companies!

So where’m I going with all of this? Well, today’s digital music playground is found through music streaming services such as Spotify, Grooveshark, iTunes, SHOUTcast, Pandora and the least famous… Napster.

I’ve tried using all of those, and iTunes, while on my home computer is fine, because I have my library there too, is not viable on the road. With the rest of these you can build and tag artists/genres you like, but c’mon, that’s a huge hassle for us to list all the bands we like and may have an itch to hear.

Last.fm takes care of that. They have a nifty piece of scrobbling software that will record what songs/artists you play the most, it even makes charts! But by far the best thing is, is that you can take your library with you wherever you go. For free. They offer your library streamed to you, they also offer your library with suggestions for similar artists. Which keeps the likes of Maroon 5 the hell out of my easy listening playlist and doesn’t turn me into a fit of rage.

So, if you’re going places, constantly on the move and let’s say maybe you’re trying to preserve some hard drive space, Last.fm is the way to go, take your own music with you and still gives you a taste of similar artists or you can just play a channel as you would on those other streaming sites.

It gives you everything… and what’s yours.

Out of the fore-mentioned bands I found myself listening to the Sum 41 set, which was more nostalgic than eye opening, the guys are good and still popular perhaps, say in Indonesia these days. Sadly, Sum 41 is not involved in the main music scene in the US these days; an underground fanbase I would assume keeps them alive here.  Sum 41 has not put out any radio worthy music in years; and in some ways reminded me of a goofy Green Day wanna be band on Sonisphere.  I’m sure the shoppers at Zumiez or Hot Topic may think they still are incredible, but here at HiFi Central we use their poster as a dart board and cd’s as drink coasters.

Cavelera Conspiracy had my attention for about 25 seconds and then I quickly found them utterly boring, especially when the lead singer Max Cavelera opened his mouth.  It wasn’t until I realized why I knew the name Cavelera and then zingo - Sepultura!  I always liked Sepultura’s instrumentals but never liked the vocals, hmmm, guess what?  Still don’t! After listening to the reincarnation with Cavelera Conspiracy, it was like trying liver again at 40 – I still think it sucks, sorry.

Diamond Head was merely a special reunion for a 1970′s metal band that some of todays bands merit (Megadeth and Metallica) with being highly influential.  Ok I guess, personally for me it was a bunch of old geezers having a good time and if they played my town I would disregard them as a decent garage band, the music was nothing worth really noting and I pressed fast forward (thank the Lord for TIVO!!!) 

After watching this chapter of Sonisphere 2010 the only bands that stood out for me were Swedish metal bands In Flames and Opeth.  I was familiar with In Flames since they recently had a show locally and I am kicking myself for missing the show; they are REALLY good!   Opeth was a complete mystery to me and I was amazed how good they were.

In Flames and Opeth are equally talented bands and exemplify some of the best Death / Progressive metal coming out of Sweden.  I found myself entranced with both bands sound and vocals;  these bands are accomplished masters of the metal sound and have discovered the ability to make quality music.  In Flames, although very good, is somewhat one-dimensional when compared to talents of Opeth. Opeth is clearly more of  a mix of conceptual progressive rock, death metal, and classic rock.  To make it a bit more precise, it would be fair to say that Opeth is a culmination of Dream Theater, early Rush, and Lamb of God mixed all together to create a tasty goop of hard driving riffs, strong choral arrangments, constant time changes, acoustic breaks, and the occasional growling vocals added at the right times. 

What I think appeals to me most about this band is the variety of music they have created over the past decade, albums range from mellow acoustic arrangments echoing with haunting vocals exemplified by the concept albums My Arms, Your Hearse (1998) and Still Life (1999).  Both albums remind me of an early Rush concept album like Hemispheres, not in the vocals but the story line.  In Still Life a character returns to his town after years of banishment due to his faith, a faith that contrasted with the majority and he comes back years later to find his true love. As the album moves forward it introduces those who originally banished him and the bad things that follow. 

Concept albums can be fun; especially when artists use the songs exemplify the chapters and progression of the character and development of a story as a whole; I think Opeth does a good job in these two albums.  As a sidenote, and clearly coincidental, the album My Arms,  Your Hearse offers three instrumental songs, one is named “Madrigal” (as found on Rush’s Farewell to Kings (1977)) luckily it’s not a cover.  Regardless, I still found this humorous; and “Rush-like” quality can be found on the first song off of Still Life called “The Moor”; very Cygnus-X1-like with a journey of soft haunting guitars setting the tone for a deep story full of twists and turns.

Opeth has been smart not to rely on the same recipe for their albums; they keep to a constant style, yet manipulate the arrangments very smartly.  This constant shift from acoustic to metal can be reflected in more recent albums where a much more hard driving non-stop Death metal style of growling vocals and blistering guitars is introduced sparingly.  I liken their albums to a “metal roller coaster ride”, albums may start off with a soft haunting vocal and guitar backdrop and then transition into fast paced dark anger and fury, then back to mellow.  Much of this style can be highlighted on an album such as Blackwater Park (2001); at the same time you can find a mix of both acoustic melodies and metal offered Watershed (2008).  So far I have found that Opeth put out very solid albums that keep the listener enthralled and not yearning to advance to the next song.  It’s actually more anticipation to see what’s next and I like that.

As much as I want to continue writing an indepth analysis about the the body of Opeth’s work, there is simply too many albums and not enough time for me to fairly be overly critical  (positive or negative); however, I can say with great conviction that from what I have heard so far, I am very impressed!

 This band is clearly on to something and I can’t wait to see if they ever have a show in HiFi Central’s hometown of Albany, NY.  If you are interested in learning more about Opeth see if you can snag their Still Life album as a starter; Still Life is one of my current favorites.   If you have seen Opeth or like their music please drop us a comment, we’d love to hear what you think.  If you have not heard them before and decided to check them out via this blog, please let us know if we made a good suggestion or whether we suck at making suggestions.

This is their third album. The first two I’m Like A Virgin Losing A Child and Mean Everything to Nothing both saw significant playtime to get them into my top 20. They’re simple.

That’s the best compliment I can give to a band in a day and age where overdubbing, vocoders, and vox tuning are prevalent. Not the case. What you see hear is what you get.

This album came out in May and hasn’t been met with much fanfare. Which is disappointing considering the almost cultist following bands like DMB, The Black Keys and The White Stripes have.

Their sound is one of a kind and their creativity is like a sunrise on a cold morning.

The album starts off with a bang with “Deer.” Then 2 tracks later with “Pensacola” it really gives you the perspective that these guys are genuinely having fun making these albums and have room for improvisation in the studio. Improvisation in music is almost always a good thing as it leads to creativity and collaboration.
The album gets suddenly somber with “Virgin” which is remarkably reminiscent of just about anything off of I’m Like A Virgin Losing A Child and really sets you up for the title track “Simple Math.”

As you can see and hear, these guys know what they’re doing. “Simple Math” was nominated for MTV and UK video awards and the technical aspects of the video are just mind blowing. You usually don’t see that type of production work put into a music video.

They’ve impressed me from day one and I’ve found a place in playlists for whatever mood I’m in.

4/5

Look at what I do for you. I subject myself to substandard music shit to bring you better awareness on what an abomination the band Nickelback is… the worst part to all of this? We’ll all be witness to their shittiness one week from today: Thanksgiving Day during halftime of the Lions/Packers game. I already know what I’m thankful for: the Mute button.

Just bear with me for this thought process. Some executive somewhere thought it was a good idea to have a CANADIAN band (I use the term ‘band’ loosely here) perform for AMERICAN Thanksgiving?!?!?!? Then pitched it to the NFL… and they approved it. I mean I’m not for the death penalty… but this rides the line folks.
I mean, the game is in Detroit!!! The home of mo-town!!! The home of Eminem and Kid Rock! Bob Seger! Alice Cooper! Jack White!! THE MOTOR CITY MADMAN: TED NUGENT!!!!!!!!!!! Jesus get me some blues or jazz!! Give me Adele! Aretha Franklin! Alicia Keys! Singing Empire State of Mind would be less out of place. Hell I’d take Lady Gaga and Katy Perry over these chumps.

Just goes to show, America still like imports better than domestic.

Ok so now that I got that out of the way, we can get to the real lashings; that is, what this album just did to my ears. Jerry Sandusky couldn’t even help me wash my shame away…

The problem with Nickelback isn’t the music. Rather, if you listen to some of the songs that don’t make radio release, some of them do have driving guitar and bass riffs, like the opening track “This Means War.” Drums don’t get in the way and then… it happens… Chad Kroeger starts singing and it all goes to shit.

I’ve never heard more unoriginal lyrics in my life. Made evident by the song “Bottom’s Up.” Just, classic rock is classic for a reason. Songs like Hendrix’s “Purple Haze,” Skynyrd’s “That Smell,” or even Peter Paul & Mary’s “Puff the Magic Dragon” are creative and use euphemisms for drinking and drug use. I have no respect for bands that can’t think of a way to properly use a metaphor to make you think of what you’re listening to (I’m staring at you Buckcherry.)

Just, I’m 5 songs in and 4 of them have sounded exactly the same. This band has no 3rd gear. It’s either rock to a steady beat or a ballad. The problem is, every single one sounds the same. They’ve never bothered to change what they do. Which isn’t a bad thing if you’re a revered and creative band, Nickelback, however, is not. They’re a mediocre rock band who refuse to take any risks in any direction. They’re the G.O.P. of rock bands. No wonder people hate them so much.

They’re rich, successful, and somehow manage to keep drawing fans/getting votes. But dear god are the lyrics to these songs bad BAD TERRIBLE CRAP SHIT. Just listening to the lyrics of “Gotta Get Me Some” makes me feel sorry that nobody really listens to what’s being said. It’s a guy going after his best friend’s ex… right in front of him. Talk about breaking bro-code. To make a song about it though? Major foul dude.

Oh great, now we get the ballad of the album “Lullaby” and again, not going to lie, it starts out FINE. Piano and a well timed drum/bass entrance. Nice and slow… then jesus crippled christ on a cross… the lyrics are BAD. I don’t understand why Nickelback has to be so self aware:

So just give it one more try
With a lullaby
And turn this up on the radio
If you can hear me now
I’m reaching out
To let you know that you’re not alone
And if you can’t tell
And you scare yourself
Cause I can’t get you on the telephone
So just close your eyes
Honey here comes a lullaby
Buried a lullaby

Really? Is this you bragging that you get your songs on the radio? Ok fine. You think I’m nitpicking? How about that these lyrics directly follow that song about wanting to bang his friend’s ex? Or that it’s followed up by “Kiss it Goodbye” where he blantantly sings about disliking people doing drugs and seeing through people’s “bullshit.” Talk about schizophrenic. I feel like this album was written by a drunk frat boy who can’t control his hormones and ends up dry humping a staircase before he passes out.

Oh good, a semi-ballad with “Trying Not to Love You” … where he writes a lyric about not being able to find a pill that can help him how to forget “god knows I hasn’t found it yet.” How is this music? Nothing of these lyrics are moving. It’s annoying really.

Again, drunk frat boy lyrics for “Holding On to Heaven.” Just so uncreative, 9 songs in, not one lyric has stood out as deep or showing any sort of empathy or story telling. It’s literally drunk desperate guy looking for anything to cling to… which continues with “Everything I Wanna Do.”

Aren’t these guys in their 30s? Shouldn’t they be a little more mature than this? I mean, hell, at least Scott Stapp wrote a song for the birth of his son (“Arms Wide Open” for those of you who’ve been spared.)

I know there’s another song left… but I’m done. It can’t bring this album back to life. It’s just lame. Maybe if you dub out all the lyrics I’d appreciate the music. But the fact that this is what, the 6th album that’s been the same damned thing is just too much to take.

2/5 … Ok last song is playing… 1.5/5 this is such crap.