'Sold Out' - Blindspott

In their ten years together West Auckland’s favourite sons, Blindspott, have had an impressive career. After releasing their debut self-titled album to critical and commercial acclaim the band capitalised by selling out shows in Japan and Indonesia before returning their focus to our shores for their follow-up release. In short, they enjoyed one hell of a career, and one that will always be remembered in New Zealand music. ‘Sold Out’ is Blindspott’s thank you to their fans who have supported them unconditionally and wholeheartedly throughout their ten year, two album career.

This CD/DVD package is a must for any Blindspott fan, acting as a sort of Greatest Hits with a great mix of their biggest songs of their two albums – Blindspott and End the Silence. The selection of songs, while being a steady mix of their two studio releases, wisely pays more attention to their debut which showcases the band’s own recognition of what made them a powerhouse of music that could sell out any venue in the country.

As well as the show caught live on the CD and DVD for fans’ oral and visual pleasure, a selection of clips provided by the band showcase their antics on the road ranging from pranks and drunken mischief to interviews of the band by the band. While the DVD itself is great value it’s only let down by the fact that Shelton forgot how to use a microphone, resulting in the viewer at times straining to hear what is being said before being blasted by a wall of noise when the DVD abruptly cuts to a screaming bourbon-fuelled crowd.

Apart from some questionable sound levels and editing in the bonus section of the DVD, Blindspott’s ‘Sold Out’ is a superb CD/DVD compilation that showcases the band’s live intensity. While officially claiming that the existence of this package was not confirmed until the night of the show, it was clear that Blindspott’s final official performance was going to be special – ‘Sold Out’ is evidence to this.

4.5 stars

I Feel Cream – Peaches

Feminists, as their stereotype dictates, are the evil side of the male lesbian vision. Thanks to the rise of feminism in the last century male chauvinism has more or less become impotent as chicks get fat and get piercings that announce to the world “I hate penises and I’ll eat yours if you look at me funny”. However as much as I personally dislike active feminists they have made a great addition to the music industry by blurring boundaries in their music and performance. Enter Merrill Beth Nisker, or as many know her as: Peaches

For almost fifteen years Peaches has been a notable force in the electronica scene with her music and stage antics blurring the line between gender identities with a large dose of sexual energy thrown in for good measure. I Feel Cream is a more tender offering that long-time Peaches fans may feel a tad uneasy about, in particular ‘Lose You’ and the title track ‘I Feel Cream’ which bring about a new side to the teaches of Peaches while also incorporating a newfound melodic groove.

However this album is far from soft, Peaches still retains the same bite that she has become renowned for which is evident in the opener ‘Serpentine (i don’t give a...)’ and ‘Trick Or Treat’ featuring the charming lyric “Never go to bed without a piece of raw meat”. Also present in the album is a strong hip-hop influence, taking its rawest form in ‘Billionaire’ where Shunda K, of Yo Majesty fame, joins in to turn the tables of gender dominance and sexuality on its head.
With this being a Peaches record there are some truly pumping electro songs that’ll get anyone’s ass on the floor, of particular mention is the peculiar Freudian themed ‘Mommy Complex’ and the bass-heavy ‘Take You On’.

The fifth album of her influential career I Feel Cream sees a slightly new direction in Peaches music while still retaining the same bite that she has become well known for, resulting in a great introduction to anyone who is in the need for some teaches of Peaches.

3.5 stars

All The Stupid Smiling Faces – The Insurgents

As a late-comer to the Indie genre I have to admit I was sketchy about reviewing an album labelled indie-pop. I was afraid if I listened to it from a subjective point of view then I would not like it and thus incur the wrath of the nuveau-chic indie darlings that this town holds so close to its creative heart. But an amazing thing happened, I realised that there is some Indie music that I like, and it’s all thanks to The Insurgents’ debut All The Stupid Smiling Faces.

Scattered throughout the record there are hints of inspiration from the Checks, The Kaiser Cheifs and other contemporary indie-rock success stories, but in saying that this album is far from a carbon-copy of other bands. The Insurgents have this great musical quality that allows them to effectively collect together different styles together to create a special breed of indie that is effectively theirs. This ranges from the juxtaposing vocals of album opener ‘Rather Be Dead’ and ‘Feeling Put Out’ to the slow-burning ‘None Of Us Are Getting Out Alive’. However the true strength of The Insurgents lies in their ability to make music to dance to in that special indie fashion – that style that those op-shop obsessed indie chicks dance like, you know what I mean. Bad descriptions this album is laden with great dancey tunes to bop along to most notably ‘Pop Sensation’ and the great closing track ‘Ezi Luvas 69’. Though I have to say the track that stands out most has got to be ‘Playing Guitars’ that, despite starting off like a certain cringe-worthy pop song ripped from an 80s teen movie, actually becomes a great song with a definite charm that builds into a great closing chorus.

As stubborn as I was in resisting the Indie genre’s grip upon the local music industry The Insurgents’ have effectively swayed my opinion with their great charm, convincing me that New Zealand’s indie scene isn’t all just too-alternative-for-you kids with little talent in their suede boots. Now, if you’ll excuse me I have to board myself in my flat before the indie hoards come to claim my soul for that last little comment.

4.5 stars

21st Century Breakdown - Green Day

2004 was a significant year for Green Day: with the release of American Idiot it was clear that one of the biggest punk acts had chosen a new direction strongly influenced by pop-punk energies combined with a grand, almost progressive, musical score theme that was reminiscent of rock opera. Now, five years later, Green Day offers us the follow-up to their newfound style that might as well be a second album for what feels like a completely new band.

21st Century Breakdown is not the album that old school Green Day fans are looking out for, it is, in fact, a strong continuation of their new direction that favours the more melodic and anthem-based songs that American Idiot introduced. While not nearly as progressive at times 21st Century Breakdown remains to prove that Green Day have matured into what can only possibly be described as one of the most unique pop-rock bands churning out anthems today. The songs ‘Christian’s Inferno’, ‘Horseshoes and Handgrenades’ and ‘American Eulogy’ provide energetic guitar driven pop-rock anthems that are sure to please their more angst-ridden and pop-loving audiences, while the sorrow of ‘Restless Heart Syndrome’ provides a great contrast. The pop-epics of ‘Holiday’ and ‘Jesus of Suburbia’ make a return with ’21 Guns’, the My Chemical Romance-inspired ‘Viva La Gloria’, and closing track ‘See the Light’ reinforcing that Green Day have found a new direction that suits. Numerous times throughout the album there are catchy tinges of early rock’n’roll pop (‘Last of the American Girls’, ‘Static Age’, etc) that would not be out of place at American high school proms whilst being contrasted by the likes of ‘Peacemaker’ with its fast-tempo acoustic guitar that oddly would suit a stage production. In fact the album’s subject matter would almost certainly provide enough material for some kind of musical with its (albeit pop-infused) commentary on the state of Western society at the beginning of a new century – hence the album’s name.

While hardcore Green Day fans of old will not appreciate the continuation of American Idiot’s pop-rock anthems, 21st Century Breakdown is an album that will grow on listeners who are not initially hooked by the melodies and altogether proves that Green Day have found a winning formula.

4 stars

No Line On the Horizon - U2

It’s been five years since U2’s last studio effort, a big gap for a band who in their almost 30 year career have released eleven previous records. In this time they have written some great music, but it seems with No Line On the Horizon they may have dropped the ball.

I shouldn’t be all too negative about this album, there are some great songs on it. A nice cushy love song can be found in ‘Magnificent’ and the single ‘Get On Your Boots’ is pretty groovy, deserving the amount of radio attention it’s been getting lately. The same should be said about the opener ‘No Line on the Horizon’ as well, but it is unfortunately ruined by the fact that it is repeated as a closing track with minor musical alterations and different lyrics. Normally this can work if it acts as a kind of closing credits function only lasting a minute or so, but it is an entire song in itself which paints a pretty lazy picture.

What is interesting is that a lot of the songs are based in the perspective of some poor soul suffering through war and poverty or even a journalist covering these global issues. This would normally make for some pretty interesting lyrics but unfortunately they end up resembling those of an accountant for the Green Party, of particular note is ‘Cedars of Lebanon’ with the lyrics “Child drinking dirty water from the river bank/ Soldier brings oranges he got out from a tank” and so on…you get my point. Talking about lyrics there is a significant lack of such with too many choruses relying on the “Oh-oh ooohhh-ooooooh oh” style of speak resulting in the aforementioned laziness.

My biggest beef with U2’s No Line On the Horizon is the fact that it’s very linear; none of the songs really stand out and more or less just blend together. That doesn’t mean that it’s a bad album, but it seems to me that U2 are starting to lose their way.

2.5 stars

Chinese Democracy - Guns N' Roses

Before I write anything about the long, long awaited new Gunners album one thing has to be made clear: this is not the Guns N' Roses that we have all grown to love, this is Axl Rose. That's it.

Now that I've got that off my chest let's get into the album shall we?

Chinese Democracy can probably be defined by two words: egotistical and epic.

Let's start with epic: With fourteen tracks clocking in at over seventy minutes this is hardly a short album. Starting from the first track's, Chinese Democracy, build-up intro you gather a good idea of what this album is going to be like, coupled with the fact that this album averages around 5 minutes a song, this isn't an easy album to listen to. An especially difficult song I find to listen to is 'Riad N' the Redouins' which just seems to be a frantic combination of noise by trying to combine screeching cat vocals with some crazy solos.

The main thing that struck me about Chinese Democracy is just how bloody heavy it gets, especially the opening tracks. 'Shackler's Revenge' (which will be available on Rock Band) and 'Better' both have very strong industrial feel evident in their sound thanks to the efforts of legendary guitarist Buckethead, while the latter is probably most attributable to NIN's own guitarist Robert Finck helping out. However 'I.R.S.' stands out for this reason in that it's one of the very few decent songs on the album that has a traditional rock'n'roll feel to it with great screeching guitar leads and interestingly enough some acoustic sections.

With Axl Rose at the helm this wouldn't be a Guns N' Roses album without some power ballads, of which there is no short supply of. If your idea of a Gunner's power ball is 'November Rain' then 'Street of Dreams' and 'This I Love' is something to listen to while 'If the World' is definately one of the more interesting songs on the album combining piano, Spanish guitars, porno grooves and recurring heavy industrial sounds. Another interesting, and catchy, song is 'Sorry' with some very nice licks from whatever guitarist it was (really it's proving to be too much effort to figure it out) as well as Sebastian Bach providing back up vocals.

Now onto the egotisitcal part of the review: Again it has to be stressed that this album is an Axl album, 'Scraped' speaks to this clearly with the lyrics "Don't you try to stop us now/I just refuse/Don't you try to stop us now/Cause I won't just let you" with annoying "A-yo"'s between the lines. Flip through the CD pamphlet and you can count three guitarists, two keyboardists and two drummers in the pictures alone making you realise how much of a dictatorship Rose has over the album and how dispensible everyone else is.

As I said above Chinese Democracy can be described by two words: egotistical and epic. While this may deter some from actually buying the album this is in no way a total write off of the album. The new Guns N' Roses may be swept up in their own might providing a number of sometimes difficult to listen to or just plain boring songs there are a few gems hidden in there which may mature as time trucks on. However I'm personally choosing to keep my hopes up for Slash's solo album emerging this coming year and listening to something less epic.

2.5 stars

Heart On - Eagles of Death Metal

Whenever I hear of a new Eagles of Death Metal album coming around the corner I always get butterflies in my stomach. However, these aren't your normal butterflies, they are, in fact, dirty groupie-loving butterflies.

Yup, the best kind.

For those not in the know Eagles of Death Metal, despite the name, is not a metal band, but in fact is the rock'n'roll offspring of Jesse "Boots Electric" Hughes and the mighty Joshua "Baby Duck" Homme (of Queens of the Stone Age and formerly Kyuss fame). Heart On is their third album together since the band was formed out of the Desert Sessions and has barely halted their creative love-juices from spirting all over your carpet.

Heart On takes a more diverse approach to EODM's blue grass-inspired flavour of rock'n'roll with some refreshing slower tempo songs ('Now I'm a Fool' and the drunk sounding 'Solo Flight') thrown in to balance out the million-miles an hour stlye that Homme's quirky drumming and Hughes sleeze-machine vocals and guitar has come to symbolise. In true EODM style Heart On reeks with rock'n'roll sleedyness (the good kind) with track titles including '(I Used To Couldn't Dance) Tight Pants' and the title track 'Heart On'. Erotic puns aside the album continues many fine EODM traditions evident in the first single 'I Wanna Be In L.A.' and the slide guitar-strewn 'How Can a Man With So Many Friends Feel So Alone'. While 'Cheap Thrills' contains the echoey back up vocals reminiscent of Death By Sexy's 'The Ballad Of Queen Bee And Baby Duck''s chorus, again we are thrown back into the gaping abyss of bouncing rock'n'roll 'I'm Your Torpedo' courtesy of Homme's drumming prowess.

If you're looking for a refreshing take on rock music then you cannot go past Eagles of Death Metal's Heart On, while it may not be as amazing as their last album Death By Sexy or as ground-breaking as their debut Peace, Love, Death Metal it is still something that needs to be checked out.

4 stars

Local Kid - Fur Patrol

Fur Patrol's eagerly awaited third full album continues the (former) Wellingtonians unique sound sending the listener on a fantastic journey with some very nice laid back melodies while also throwing a few rocking numbers in to remind you that they are still a force to be reckoned with. Julia Deans' voice is what initially attracted me to Fur Patrol with an almost unmatched beauty while also being able to flip the coin and hurl out some real strength, in Local Kid this is largely unchanged albeit with increased emphasis on the laid back.

If you were only a fan of Fur Patrol's energetic Collider then this album may not be for you as it draws many similarities to 2000's Pet in that the vast majority of the tracks are fairly quiet, however in saying that 'Debt' and the single 'Hidden Agenda' really hark back to Collider's energy. 'Debt' especially contains a unique sense of cynical power and builds up to a great bridge that makes the song easily one of the best of the album. As mentioned above Local Kid is mostly a quiet album, which especially works in favour for Deans' voice as it gives it a beautiful vulnerability which is especially evident in the lonely bass-heavy 'Silences and Distances' and 'Little Fists'. Other great songs on this album that really do deserve mentioning includes 'Rondo' which contains melodies which seem to reach out longingly for your ears as well as 'Long Forlom' and 'Local Kid', the latter of which builds up very nicely thanks to a simple but powerful riff halfway through making it a suitable closer and a song needing to be witnessed live.

It's always great to hear a kiwi band still going strong after ten years, which after Shihad's disappointing Beautiful Machine is really saying something. Fur Patrol's Local Kid proves that it is possible for a band to embrace their old ways while still making great original music that doesn't sound all the same.

'Death Magnetic' - Metallica

After their last studio effort, ‘St Anger’, I was very uneasy about Metallica releasing another album despite assuring reports of them returning to their thrash roots, but I can very gladly say that ‘Death Magnetic’ is a true return to form for what is arguably one of the music industry’s biggest rock bands.

Straight from the get go these old monsters batter your ear drums with the relentless opener ‘That Was Just Your Life’ that has a certain reminiscent feel of Master of Puppets. In fact the entire album is very reminiscent of Puppets, perhaps a good sign for a bunch of old buggers who’s last effort in the studio saw them turn into a bunch of whinging oldies. But back to the music: ‘Broken Beat & Scarred’ epitomises Metallica lasting this long with the line “What don’t kill ya/Make ya more strong” and sounds excellent with ol’ Lars Ulrich and Kirk Hammet barely letting up showing that they are still mainly on top form.

I could go on and on about how this album is such a great return to form, even including an instrumental track, but this is really something that only so many words can describe. However in saying that there are a few let downs: the first single ‘The Day That Never Comes’ and ‘All Nightmare Long’ both have the potential to be truly kick ass songs but every now and then they both hit a walls of pretentious dullness. What is also interesting is the return of ‘The Unforgiven’ in its third part, something which I feel speaks to Metallica maybe running out of song ideas having to resort back to old tried-and-true formulas of the past.

However alas, I still say proudly: Welcome back Metallica.

4.5 stars

Platinum Rock Vol.2

Another year another Platinum Rock CD shamelessly plugged by the Rock FM, when the first Platinum Rock double CD pack came out last year I was actually pleasantly surprised with the fact that it had some fairly decent music for a commercial best of album…but for this one I’m not so sure. It could be the fact that in the early 2000s, the period this album is based in, rock music for me slipped further down the crap-laden path to obscurity that I do not exactly rate this best of as highly as its predecessor does.

The track list for both CDs is laden with songs that you would have undoubtedly heard on the radio back in the day with tastes of everything from nu-metal (Linkin Park, P.O.D.) to classic kiwi anthems such as the Datsuns’ ‘Stuck Here For Days’, Blindspott’s ballad ‘Phlex’ and Steriogram’s monster hit ‘Walkie Talkie Man’. Though of course since the track list is dictated by commercial hits there are a number of songs which I can’t stand listening to like the Darkness’ ‘I Believe in a Thing Called Love’ and Hoobastank’s ‘The Reason’.

However, this compilation is actually surprisingly and I am sure unintentionally, well timed in that two iconic kiwi bands featured are reforming: Head Like a Hole and the mighty Weta – at least for a few shows anyway.

All up, I would only recommend getting this album if you want to have a crash course in rock music from the beginning of the decade. Alternatively, if you have been living under a rock for the past eight years and want to know what rock music sounds like then this may be just what your caveman ass is looking for.

2.5 stars

'Pedal To The Metal' - Blessed By A Broken Heart

Century Media

The genre of glam has had its day and has since demised, but recently there have been a few reprises in the music industry concerning it: Motley Crue released a new album, Poison still continues to tour and now Blessed By a Broken Heart have burst out of Canadia with their latest offering Pedal To the Metal. However Blessed are not just a glam band, they are the result of Glam on speed and having dirty groupie sex with Dragonforce.

The result of this combination will delight some metal heads but will also leave some with a slightly bitter taste in the mouths of others, I have to say that I am currently situated towards the latter’s camp. The album is by all means impressive musically with guitarist Shred Sean doing what he does best with some stellar solos and unrelenting drumming by Frank ‘Da Bird’ – yep those are their stage names – led by the vocals Tony Gambino. However, the album suffers from what I see as an immature metal undertone, which is the exact reason I cannot listen to Dragonforce.

Don’t get me wrong, this is a great album with token glam synth-heavy songs ‘Move Your Body’ and ‘To Be Young’, but it’s when the two worlds combine that things start to sound weird – maybe it’s the combination of 80s electric drums with growls, or maybe it’s Tony Gambino’s at times cheesy vocals. ‘Doing It’ especially gets on my nerves with the Ian Slater’s keys coupled with Gambino trying to give the song some balls and then launching into an unimaginative bridge “This is how we do it/This is how we do”…really? However, I guess that this album is not all bad; ‘Don’t Stop’ starts promising with a nice melody but then for some silly reason breaks down into an attempt at being heavy in the chorus and the bridge.

I guess my main beef with this album is the overall immature sound of glam metal and my despise for seedy vocals of hardcore. Like I said before fans of Dragonforce and probably hardcore may enjoy this album more than I have.

2 stars

'Beatiful Future' - Primal Scream

B-Unique Records

I believe it was the comedian Bill Hicks who said something along the lines of real bands who know how to rock are the ones that take drugs, have loads of sex on tour buses and generally do things that conservative folks would want to shelter poor Jimmy Johnson from. At one point in time, Primal Scream was one of those bands, but for their ninth album, the lads of Primal Scream decided to have a go at sobriety.

I would love to compare it to past albums to really get an idea of how much they have changed over the years but unfortunately, I had never really heard much of Primal Scream until I picked up this record.

The album contains a good collection of bass heavy electro-pop rock, which coupled with front man Bobby Gillespie’s slurred vocals produces some good ol’ toe-tapping goodness. There are a few cool sounding songs on the album including the synth-heavy ‘Suicide Bomb’ as well as the happy go lucky charm of the opener ‘Beautiful Future’ and the odd charm of ‘Zombie Man’.

The final three songs of the album attempt to mix things up a bit by inviting some guests to collaborate – Lovefoxxx, Linda Thompson and Josh Homme respectively – but this really doesn’t add a lot of diversity to an album that should only really be listened to at the end of a Saturday night. Though in saying that ‘Over and Over’ with Linda Thompson is a sweet duet that slows the album down nicely.

However, the album at times sounds a bit samey throughout despite its attempts at diversity and lacks an edge that makes it stand out among this year’s releases. Perhaps the lesson here is that maybe stopping while you are ahead of the game and on your drug trip may be a good idea.

3 stars

‘Forth’ – The Verve

EMI records

It’s been quite a while since the world has heard anything from the Verve, about ten years has passed in fact since their last offering, Urban Hymns, which gave us their infamous ‘Bittersweet Symphony’ and ‘Lucky Man’. But nine years after their split and last year’s reformation we are given a new record from one of England’s most influential nineties rock acts. To give you an idea about the popularity of these boys, in Britain when they announced their reformation and tour last year tickets sold out in twenty minutes prompting them to announce a larger second tour soon after.

The opening track ‘Sit and Wonder’ establishes the feel for the entire record with a strangely beautiful mix of psychedelic guitars, heavy humming bass and more than competent drumming. The first single ‘Love Is Noise’ is one of the few upbeat (if you could call it that) songs on the album resulting in a welcome change from the somewhat depressing drabness that can plague British alternative rock for some listeners. There are a great range of songs on this record ranging from the lovey-dovey ‘Judas’ and ‘Valium Skies’ to the end of the night feeling ‘Numbness’ and ‘Columbo’. A definite stand out of this album has got to be the aptly titled ‘Noise Epic’, clocking in at over eight minutes and combining everything from monologue to an intense closing bridge this has probably got to be my favourite song of the record because it shows refreshing diversity that I haven’t seen in a band for a while.

All up this is a great return to form by The Verve, showing that whatever internal conflicts the band suffered from they have gotten over and are back on top of their game. Here’s hoping they can keep it up for another album or even come down to New Zealand (please!).

4 stars

'Scars on Broadway' - Scars on Broadway

In 2003 following the Mezmerize and Hypnotize albums System of a Down announced their hiatus resulting fans, like myself, dacking themselves in fear of a world without the System. However soon after front man Serj Tankian released his own CD leaving fans anxiously in wait for guitarist Daron Malakian’s own project that he was surely to head after penning much of the aforementioned albums. Finally the wait is over with Malakian and System drummer John Dolmayan’s new band Scars on Broadway.

This self-titled debut is token Malakian in every conceivable way with many songs feeling like lost siblings of Mezmerize and Hypnotize, not surprising seeing as Malakian himself claiming that he could have released ten albums with the amount of songs that he wrote during that period. As you may have already guessed I can’t help but compare Scars to System because the resemblance between the songs is uncanny, I constantly expect to hear Serj’s voice soar over and above creating that great epic feeling that System’s music contained. It’s unfortunate that this feeling remains for Scars because it really is a great album with songs like ‘Stoner-Hate’ and the blasting opener ‘Serious’ truly setting the bar for other rock records of the year. Stand out songs have got to include the dramatic ‘Kill Each Other / Live Forever’ and ‘Chemicals’ as well as the first single ‘They Say’ and my personal favourite ‘Cute Machines’. Scars isn’t all just crazy rock’n’roll though, there are some songs that are very reminiscent of System’s ‘Lonely Day’ (another Malakian song funnily enough), ‘Whoring Streets’ and ‘Insane’. However there are a few repetitive songs that get on my nerves after a while – ‘Enemy’ and ‘World Long Gone’ I’m looking at you.

All up Scars’ debut effort is well worth the full retail price of a new album with an impressive fifteen songs making this a must for anyone who was a fan of System of a Down. However like I mentioned before this album feels at times like a half-finished System album without Serj, and it’s this lack of mind-blowing innovation that Serj Tankian’s ‘Elect the Dead’ contained that stops Scars on Broadway’s debut from being an absolute awesome album.

'Indestructible' Disturbed

Personally I was never really a great fan of Disturbed because I always felt that the singer was a pretentious twat and their past albums had too much of an electronic feel to it but right from the get go Disturbed’s Indestructible instantly did away with all of my former negative opinions about the band. The opening track “Indestructible” has echoes of their great song “Liberate” from Believe and is greatly helped by some really solid drumming by Mike Wengren. The single that’s been plaguing the radio waves “Inside the Fire” still holds some of front man David Draiman’s pretentious vocals but combined with great riffs from the guitarist and a pretty cool solo too it makes for a great song that deserves being radio bashed. Probably the main thing that has impressed me about this album is guitarist Dan Donegan who busts out some Machine Head-esque riffs and some very nice solos. “The Night” has such a few wicked riffs that I’m tempted to pick up guitar again – which goes to say something as I have no musical talent in me. Draiman’s vocal ability is another great aspect of this album, with his unique machine gun style that was first heard in Down With the Sickness coming through in the dying moments of “Perfect Insanity” and haunting monologues heard as well as in “Haunted” (funnily enough), but it has to be “Criminal” that shows off his range the best letting loose his shrieks that made him notorious in Disturbed’s nu-metal days as well his token machine gun style. However the songs late in the album like “Torn”, and the closing tracks “Divide” and “Facade” are honestly a bit boring which is a real shame when the album started off with such intensity. But in saying this all up this is definitely a great album that is a must-have for Disturbed fans and those who aren’t need to try.
This album officially has the TrueRockSoc seal of approval.

4/5 stars