The story of Drowning Pool is ripe for an episode of Behind the Music, the band broke on to the scene with the unforgettable single “Bodies“; which was used in movie trailers, sporting events, etc. to much acclaim. The album which the sing was released, Sinner, went Platinum and made it as high as number 14 on the charts. After the untimely death of lead singer Dave Williams, most bands would have called it quits.

Drowning Pool bounced back though, with former tattoo artist Jason Jones taking over lead vocals on Desensitized only to leave the band due to creative differences. Finally former SOiL Ryan McCombs joined the band on this latest release, Full Circle, and while the band’s newfound activism for men and women in the armed forces is admirable, it’s overshadowed by the decidedly generic and tame nature of this release.

It isn’t to stay that Full Circle is a bad album; it could be the changing nature of the band due to so many personnel changes that they haven’t really been able to find a rhythm, but Full Circle comes off mostly as a late-90’s early 2000’s mainstream rock album with a handful of throw away songs, a few radio ready singles, and the obligatory cover thrown into the mix, and nothing that really sets it apart from the rest in a crowded genre.

Even the aforementioned activism inspired single “Soldiers“; comes off rather tame, it never really picks up the energy you would expect, like the piercing screams of “Bodies“; or the flow of “Step Up“; managed to do, instead it just steams along until it ends, complete with the almost cliché stock sound effects of battle in the background. Drowning Pool has really stepped up the push for veterans affairs and USO support, so it’s a real shame that the single just isn’t better to bring the awareness level up even more.

The rest of the songs are easy to listen to, but just as easy to forget when the disc stops spinning. Even after a lengthy review period with the album, there’s not much here you’ll be adding to playlists, mix CDs, or the like.

The only really stand out track on the album is the cover of Billy Idol’s “Rebel Yell“; which is the only time in the discs 50 minute running time that you feel as pumped up as you should from a hard rock act.

It’s to be expected that the band would live and breath differently than it did when the “Bodies“; hit the floor in 2001, but a lot has changed in music, and while change can be a doubled edged sword (see: Linkin Park), some level of re-inventing must be done to have you stand out in a crowd. Unfortunately, Drowning Pool doesn’t bring this reinvention to the table with Full Circle, but one can only hope the band will grow with a stable lead singer and a follow up release will show that maturing nature of the band and its music.

Papa Roach’s fourth release is proof positive that the band has not only put the pseudo-rap/rock days behind them, but firmly established them as a relevant rock act with the energy, song writing talents, and singing chops to be one of the premiere mainstream rock bands in the United States. The Paramour Sessions, named after the Paramour Mansion, builds upon the excellent Getting Away with Murder and continues the bands tradition of releasing better and better albums with each release.

The three times platinum Infest, the band’s breakout debut, and its radio-ready single “Last Resort“; solidified the band in the mainstream, but its hokey rapping and decidedly generic tracks didn’t lend themselves to anything more than cookie cutter rock bands attempting to step into the shoes of success created by Korn in the blending of rock and metal with rap.

The Paramour Sessions takes the new-found sound of the group, thankfully devoid of rapping from lead singer Jacoby Shaddix, and blends it with the angst influenced lyrics of the band’s sophomore release lovehatetragedy.

The album’s breakout hit “…to be loved“; is a welcome glimpse into what the rest of the CD offers with catchy riffs that further exemplify the band’s strive to become a more focused rock act. The album is the most lyrical collection that the band has put out with much more focused songs and the ability to flex some musical muscle seems to certainly suit the band.

A lot of early fans of Papa Roach have been increasingly outspoken about the new course of the band, for better or worse, but as a fan of music The Paramour Sessions is by far the strongest collection of tracks the band has released thus far in their career and the entire disc holds a top place on my iTunes collection in several playlists.

The disc is a worthy purchase of any fan of the band that hasn’t been turned off by the shift in musical style as well as any fan of hard rock in what could very well be one of the best and most solid rock releases of 2006.

Tool first hit it big with their third major release Aenima, one of the most fluid and innovative alternative rock albums in recent memory. In 2001, after years in production, Lateralus was released. When you first open the CD case and find the accompanying booklet of a muscle-tissue man, it gives an idea of what the album may contain. The booklet is full of anatomical design; each page adds a new layer of bone, veins, or muscle. Lateralus is much the same! The album makes a full progression from metal anthems to otherworldly, 13-minute elegies.

What first stands out is Maynard James Keenan’s fresh, versatile vocal performance, fueled by his liberating lyrical selection. His voice perfectly fits over the whirlwind of sound and poetry about regret and empowerment. The drumming/percussion is also extremely well done, sometimes featuring additional drummers to cover a wide array of beats, especially in the later songs, such as the instrumental “Triad“. The production and use of electronic dubbing works great to counteract the guitars and drums. The real power of Tool comes from the raw electric guitar, however.

The album begins with “The Grudge,” which reminds everyone that Tool can still rock hard even if they have lightened up a little in the latter songs. Perhaps the best song–and biggest hit–on the album is “Schism,” which fuses metal and “mental” rock together. “Parabol” begins a successful two-track transition from acoustic chanting to electric modern praise of life that will make you want to go out and make the best of the day, with lyrics like, “Recognize this as a holy gift and celebrate this chance to be alive.” “Ticks & Leeches” is the opposite, reminiscent of Tool’s earlier albums. It is this diversity which makes this such an experience.

Beginning with “Lateralis” (yes, its spelling differs) to the final track, the band has pieced together another lust-for-life mantra of sorts. The former song is similar to “Parabola” in message, but is quite a bit more epic. “Disposition” and “Reflection” seem to take this even further, with the latter sounding as if it would not be out of place in an African tribe ritual. Lateralus is a perfect combination of mantra, poetry, and metal that moves and inspires all who listen. The way each instrument plays off of each other to create this atmosphere is what separates Tool from most alternative rock or metal bands today. They are more versatile, not limited to mere adrenaline fodder. Without the addition of this album to their repertoire, Tool’s full potential probably would not be realized, even if Aenima is fundamentally superior.

It seems as if Tool has created an amalgamate of ideals in Lateralus. How does a band that rocks so hard make its listeners think so much? Many of the following songs repeat a single message: grab life by the horns, know your limits, and be patient. Because of this, the music is almost contradictory. It is a very enjoyable album nonetheless, and might even inspire ambition in its listeners to go out and seize the day!

Cold’s latest album, Year of the Spider, is a follow up to their 2000 commercial debut, and second full album 13 Ways to Bleed on Stage. With a break out single in the form of “Just Got Wicked” the Florida based band broke into the music scene with a dark, brooding motive to tell the world about the sorrows it creates. All this under Fred Durst’s wing.

Year of the Spider is a much more mainstream album than 13 Ways but that doesn’t mean the group has lost the dark edge they had. With newly emerging bands like Seether and veterans Staind also filling up the dark recess pool would there be enough room in depression for a few more?

Breaking out of the sophomore curse seemed to be the biggest objective for the band as not many are able to top the success they had with their debut album. No Doubt’s Return of Saturn was a disappointment as was Linkin Park’s Meteora when compared to the CDs that preceded them. Luckily Cold’s slight alteration to a more accepted melody plays well in the hands and voice talents of lead man Scooter Ward who’s voice is getting a fair amount of airplay on local radio stations.

The band’s first single, “Stupid Girl” is the most commercially acceptable song on the disc, but not certainly the best. “Don’t Belong” unravels a tale of exile in society for the value of keeping your personal beliefs intact “Well I won’t ever change my ways / and I can’t be strong / That I don’t belong.” “Suffocate” is the albums breakup song and acknowledges the fake facade people display in relationships, “This cloud will always hover over me / I’m leaving you today / ’cause now I see.”

The highlight of the disc is the final track entitled “Kill The Music Industry” which details a general disgust for the big name companies who release CDs. “It’s gone to far to name / the way you see / The things they’ll change / Your life and control / your mind / I can’t relate to it.” It mainly shows that artists can be just a frustrated with the lawsuits, bullying tactics, and general disregard for the public that the record companies are imposing on all patrons because they fail to embrace the digital age. Some people are on the little guy’s side and it’s nice to see bands lining up to support a cause.

As stated earlier Cold’s dark, niche sound on 13 Ways to Bleed on Stage may have kept them from the lime-life early in their commercial career, but that disc didn’t lack polish. As with 13 Ways, Year of the Spider is packaged wonderfully with great artwork including an oriental feel with kanji characters on the cover and throughout the accompanying booklet.

The only downfall to the album is a lack of good singles, as “Stupid Girl” is the only “catchy” tune that may make it on the radio besides the possible track “Suffocate.” Even if they don’t experience another single form this disc Cold should be proud of the accomplishment that is Year of the Spider. Any fan of Cold’s or complimentary bands like Deftones, Seether, or Staind should pick up this disc if they wish to hear a band they have become accustom to with a new edge that only further illustrates their musical talent.

Papa Roach publicly stated that they wanted the follow-up to their debut album, Infest, to have a much more mature tone, and on that point they rightfully succeeded. By creating a healthy mix of rock and rap-influenced-rock lead singer Jacoby Shaddix (formally Coby Dick) is able to sing more, and rap less, which, depending on your liking of Papa Roach’s music, is good or bad.

To those missing the hard-rock, rap-stunts aspect of Infest, you will find a much older band with much more melody. lovehatetragedy‘s first single, “She Loves Me Not,” is a pop-inspired romp through a troubled relationship which feels somewhat alienated on the CD. The real winning tracks come in the form of “Time and Time Again,” which has been recently featured in Pepsi Blue commercials, and the title track “lovehatetragedy.”

As a prerequisite for most bands in this day and age, Papa Roach decided to feature a cover track of the Pixies “Gouge Away.” As an example of the new emotional tone to Papa Roach, the song “Dark Clouds,” Jacoby proclaims:

“This is making me crazy / These black clouds following me / So I look for signs of light / But rarely I see them.”

You can see that things are much more organized, it almost feels as though the album was designed with a clear mind, instead of the disjointed Infest which stuck with a general tone, but featured ideas all over the place. With lovehatetragedy, things appear more concise with several ongoing themes present in each song including references to skin, depression, and love.

With a more emotional sound album, Papa Roach no longer becomes mixed in the shuffle of “hardcore bands” who scream, whim, and come off with a bad attitude. While the latest addition is not quite punk, it’s not quite nu-metal, and it’s not quite straight rock and roll, it does feature elements from all three of those genres and melds them together in a sometimes melody filled, sometimes beat filled rock session that brings Papa Roach to the surface of MTV wannabe’s and rejects. Not saying that Papa Roach is wanting to be on MTV, it just may be better to remove them from that mindset and let them creatively explore their music rather than think about what some inane VJ thinks.

As a follow-up to Infest, lovehatetragedy proves that the sophomore curse isn’t always as bad as some band’s make it out to be. Even with the more emotion filled music with may drive off longtime, hardcore Papa Roach fans, this CD proves that bands get better with age and maturity.

Does this sound a bit like Korn? Yes, it does, but for good reason. Lead singer Marky Chavez is Jonathan Davis’ half-brother, but that is where the similarities end between the siblings, as Adema’s first effort throws on a more indifferent mix than one who has been listening to Korn is used to.

Adema’s biggest triumph is they are different than some of the new bands emerging today. They have something about them that sets them apart from acts of similar caliber and composure.
Adema doesn’t stray from a new, and disturbing in it’s own right, trend of new-metal bands attempting to perform “monster” ballads of their own. Staind did it, Puddle of Mudd (influenced by Fred Durst) did it with their song “Blurry,” and now Adema does it with songs like “Speculum.”

While the ballads are a nice diversion (mainly because they don’t lose the intensity that Adema brings forth), the real life of the band falls in a few select tracks. The first single “Giving In” speaks of addiction and one man’s quest to ruin it all and alienate the family that only wants to help him. My personal favorite track, “The Way You Like It,” is a very powerful track as well as being a very catchy track.

While some believe this is nothing more than a rehash of Korn, one listen and you will see why it is decisively different than anything you have heard. Adema’s debut may have been lost among the debut of many other bands of the same genre, but none of them have the boasting rights of revitalizing a genre with a breath of fresh air, and a clean right hook to the gut.