RIYL: Tool, Helmet, Incubus
The Chicago power trio’s fifth album sees the band doing what it does best, which is rocking a heavy sound, yet one with more melody than most of their contemporaries. “Sleep Apnea” and “Mexican Sun” come right the gate with a powerful sound – big power chords, fat bass and crashing drums. Vocalist/guitarist Pete Loeffler still strays into screaming mode here and there on the album, but mostly leaves the screams on the curb, a good thing since he can actually sing. Brother Sam Loeffler on drums and brother-in-law Dean Bernardini on bass form a mean rhythm section for Pete to lay down his crunchy power chords over.
“Shameful Metaphors” is a major highlight that demonstrates Chevelle’s more dynamic side, as it starts off featuring the bass line and light, melodic guitar before the crunch comes in, reminiscent of the production style on the band’s 2002 smash hit “Send the Pain Below.” Pete Loeffler shows what an emotionally compelling vocalist he can be on tracks like this and lead single “Jars.” “Fell Into Your Shoes” and “Letter to a Thief” feature more big heavy hooks that will surely get fists pumping, and echoey guitar fills that expand the band’s sonic palette.
The album’s title apparently comes from “Highland’s Apparition,” which mixes things up with a solo acoustic ghost story ballad, and “Roswell’s Spell,” perhaps the heaviest song on the album. This unfortunately makes it challenging to discern the lyrics that allude to the infamous 1947 Roswell Incident, since Loeffler reverts back to screaming mode during the song. The intriguing lyrics, says Loeffler, were influenced by a friend of the band that’s way into UFOs and the paranormal. The topic has clearly influenced the band, as demonstrated by the album title and artwork featuring a flying saucer.
“A New Momentum” follows with a monster bass line, huge dirty chords and some really catchy riffs for another stand-out tune. “This Circus” closes the album with another heavy but more syncopated rocker. There’s a lot of heavy sludge rock out there that lacks any memorable hooks, while there’s just as much poser rock that lacks any real balls. Sci-Fi Crimes shows that Chevelle remain among the best at mixing melodic hooks with head-banging heaviness. (Sony 2009)
We’re admittedly late with this one (this was released in June), but better late than never when discussing the only album that came remotely close to challenging Thriller on the album charts in the early ’80s. Joe Elliott may make fun of Nick Rhodes for playing keyboards with only two fingers on those VH-1 “I Love the ’80s” shows, but as great as Pyromania is, it was Def Leppard’s ability to appeal to the fairer sex – a rarity for metal acts – that launched them into the stratosphere, and much like Rhodes and his mates in Duran Duran, Def Leppard’s music videos went a long way towards making that happen. (Come on, look at those pictures again of Joe Elliott in the sleeveless Union Jack shirt and his perfect hair. Dude’s the world’s first metrosexual.) Guys loved Def Leppard too because, let’s face it, they kicked ass. It was polished, obsessively overproduced ass, but ass just the same. There isn’t a band alive that wouldn’t claim “Photograph,” “Rock of Ages” and “Foolin'” for themselves. The album tracks, namely “Rock! Rock! (Till You Drop),” “Stagefright” and “Too Late for Love,” were just as good. 
Although he first emerged from Christian pop realms, Derek Webb has never found himself constrained by either dogma or dictates, especially as they apply to his own soft rock excursions and those that he pursues with his talented wife, singer/songwriter Sandra McCracken. However, anyone familiar with his music up until now might be somewhat confounded by Webb’s current switch in sound. Webb’s always aimed for accessibility, but here he deviates from that tact, opting instead for an atmospheric motif, some techno trappings and hip-hop beats to maintain his muse. On first listen, it sounds like an attempt to substitute dance club fare for the thoughtful approach that distinguished his previous efforts and indeed, Webb keeps things moving at a kinetic pace. However, while the undulating ambiance sometimes seems distracting, additional listens reveal some subtle nuances. In fact, it’s those moments of mellow respite – the gentle ballads “The State,” “Heaven” and “American Flag Umbrella” in particular – that make Stockholm Syndrome easier to abide. 
