Kingcrimsonprog To say this album is controversial is an understatement. To understand it, you really have to look at the psychology and recent history of the band and it’s frontman, Rob Flynn. When Machine Head first arrived on the scene in the early ’90s with their almost universally loved debut album and its follow up they were the hot new thing. By taking Thrash Metal, slowing it down, adding in lots of groove and Hardcore they ended up creating something unique that genre pedants still can’t agree on (Groove Metal or Post Thrash or just a weird version of Thrash, the arguments are endless). After that, when Nu Metal was popular and still new and exciting, the band who had always been talking about Hip Hop and Rap since their early days introduced Rap and Hip Hop elements into their music and changed the production and guitar styles, in so doing they made something altogether different that garnered both huge success and then huge backlash for their next two albums. After the backlash and all the constant criticism, the band almost broke up and their popularity plummeted drastically, but instead of throwing in the towel, they changed paths again and then released what can only be described as four of the best albums in the entire history of Heavy Metal… their stellar run from their return-to-glory Through The Ashes Of Empires to Bloodstone And Diamonds are four straight up faultless masterpieces, crowned by their beyond-popular The Blackening which is hailed as a classic by more people than there is time to list.

For the two albums after The Blackening though, even though they were incredible, it did not get the band the Festival Headliner status they justly deserved. Furthermore, after touring the material from those four albums, most of which is so lengthy and diverse that it absolutely ate up all the time they would get on festival slots thereby letting them only really play 4 or 5 songs… the band decided to start doing ‘An Evening With Machine Head’ shows where they could play multiple hour sets (often without a support act, although I’ve seen them twice, once with support bands and once without).

When doing those ‘evening-with’ shows and now having room to play more than just 4 or 5 of the newer era songs, they were able to drop in material from all over their career. Even tracks from the Nu Metal period that many people claimed to hate, but which the band are now getting nostalgic for and people seemed to be loving live.

So here we are in 2018; after four albums of absolute perfection, melding progressive flair, blistering thrash, flashy technicality, beautiful dual guitar melodies, and diverse mixtures of fast, slow, sludgy and groovy… the band needed to try something else to make a play for their absolutely-earned but frustratingly elusive festival headliner status. Full of nostalgia for the Nu Metal era and feeling no reason to be tied to a formula that isn’t giving them the success they deserve, Machine Head entered the studio and came out with Catharsis. The name has been explained as describing the writing process. Instead of having to hide away new ideas like incorporating poppy keyboard sounds that Rob is listening to on the radio, or delving back into the in their eyes unfairly overlooked Nu Metal stuff was cathartic for the band. Even though it is superb, they don’t want to just repeat The Blackening fifty times. It wouldn’t be fun as musicians. So back come the bouncy riffs and street-level lyrics, and newly incoming are the Jordan Fish sounding keyboard sections. That gets mixed in with the successful formula from the previous four albums, and the resultant mixture is what we have here on Catharsis.

Now; there’s two things that can make a certain time of metal fan do a spit-take. One of them is a Heavy band going Nu Metal. Another is anything that sounds like Bring Me The Horizon. So naturally; there has been a hell of a lot of negative reaction to this album. Not helping that is the world being so much more right wing now, people are complaining constantly about the socially conscious lyrics of this as if its a new thing. As if they weren’t singing about this all the way back on Burn My Eyes. As if the universally praised The Blackening didn’t have ‘Slanderous’ on it. As if Metal fans haven’t been praising bands like Anthrax and Nuclear Assault for being socially aware all the way back in the ’80s. As if music fans haven’t been praising bands like Dead Kennedys and Rage Against The Machine and the hundreds of other bands (I mean, there are so many more left wing or liberal rock and metal bands than its even worth counting, why is this even a topic of discussion?). I mean, its not as if Rob Flynn has ever guest starred on an Earth Crisis album or something is it? Oh wait…

Ok. So that’s the broad strokes out of the way. On to the specifics. It is almost an album of two halves (its almost two albums its that long, over 70 minutes… how does that compare to Unto The Locust getting pettily criticized for being too short?). The first half shows off the more experimental stuff. Songs like ‘Kaleidoscope,’ ‘California Bleeding,’ ‘Triple Beam’ and the album’s centerpiece ‘Bastards’ is where the real diversity and controversy lies. If you haven’t heard it or about it yet, ‘Bastards’ has been described as a folk song; four chords that have been around hundreds of years etc, and it climaxes with a shuffly drum beat that could be Flogging Molly or Dropkick Murphies. It is a very surprising move from the band and sounds like nothing they’ve done before. ‘California Bleeding’ has that same style of lyrics that the much criticized ‘American High’ off of Supercharger had. ‘Kaleidoscope’ and the Title Track have touches of keyboards that have that Jordan Fish BMTH sound. There is a slight Slipknot influence on opener ‘Volatile.’ ‘Triple Beam’ despite having an absolutely brutal sledgehammer riff in it, is much-hated by people for being a very clear Nu Metal nostalgia moment. I think bands like Cain Hill and King 810 coming out, and bands like Coal Chamber reuniting, as well as fans at ‘Evening-With‘ shows enjoying the Burning Red material so much can explain this. This type of music was important to the band at one point and it must feel fun to write like this again and not have to feel ashamed of it. (Well, until now when the inevitable backlash came).

The rest of the album however is a bit more traditional. Its nothing you’ve heard before but if you really think about it, it is within expected limits of Machine Head. I mean, this whole album’s titular catharsis was them rejecting and pushing against those limits and that’s why the first half is the way it is. So of course, sure there is a bit of diversity in the second half too, with ‘Hope Begets Hope’ having a slight System Of A Down influence in the quiet guitar parts, and the odd melodic pre-chorus on the Motorhead tribute ‘Razorblade Sigh’ are a new addition but its all within the limits of a between-albums jump in their last four albums run. They were never four exactly identical albums and there was a reasonable jump between each, but the second half here is very much suitable for anyone who has loved the band’s renasiance period. Don’t let people who don’t like all the change in the first half let you miss out on the quality stuff at the end. There are riffs as crushing as anything on ‘Locust or ‘Diamonds, there are guitar solos as good as the stuff on The Blackening and there are vocals as good as anything on ‘Empires. I mean ‘Heavy Lies The Crown’ opens up with violins, but so did ‘Now We Die.’

Even though the heavier moments are what we all come to Machine Head for, one of the highlights is ‘Behind A Mask;’ a semi-ballad that sounds like a superb mixture of ‘Darkness Within’ and ‘Descend The Shades Of Night’ but with an almost Bon Iver backing vocal, some tasteful electronic snare sounds, and absolutely and a stunningly simple but beautiful guitar solo.

Now; I don’t think this album is anywhere near as deserving of criticism as it is getting. (Really?! Your review was so impartial thus far, how shocking!). That being said, I do have some personal-preference issues. I for one am not a fan of the lyrics. Not the political stuff, I actually like that. Its the poor-taste vulgar stuff that feels out of place. I don’t want to hear ‘sucking dick’ or ‘getting head’ or ‘eating pussy’ or ‘a boner for miles’ from the same band who wrote the excellent lyrics to ‘Locust’ and ‘Clenching The Fist Of Descent’ …that is not to my personal taste. I also am not a fan of the weird effects on the drums at times. Sometimes, the music will cut out and Dave will be about to drop a really powerful drum fill but the production job will put an effect on it and make it sound strange and toy-like and detract from the impact. I also don’t like the decision to use less rhythm guitar and do the dual leads over only bass. It sounds a bit empty compared to previous albums some how. Lacking a certain power. Not album ruining but a little niggle worth pointing out.

Is it going to topple Unto The Locust as my own personal favourite Machine Head album? No. Is it going to topple The Blackening or Burn My Eyes as the band’s most known and loved classic album in the public opinion? No. That being said; It is the travesty people have been hyperbole-gushing about? Hell no. Is it a return to Nu Metal? Not really no, there are tiny amounts only. Is it a betrayal? No, don’t overdo it now guys. Is it even a bad album? No.

There are a few aspects that aren’t to my taste, there are a few aspects that will have more militant bullet belt wearing fans crying foul. The majority of the album however is still the same thing Machine Head always do: Unique drums. Heavy riffing. Interesting solos. Rob Flynn’s voice. There is an absolute load of good moments on the album, and the lesser moments have been greatly blown out of proportion.

PS. Another really great reason to check this album out? The bonus disc! If you get the right version you get a full length ‘An Evening With’ show live in San Francisco in 2015. It has 21 entire songs performed superbly and well captured. It has all the MH livery and banners and the good light show. The band are firing on all cylinders. The crowd seem pretty into it. The camera work and editing aren’t annoying or distracting like some concert DVDs. Heck; The DVD is good enough to be a full price release on its own merit. I highly recommend you check it out. Even if you’ve heard ‘Kaleidoscope’ or ‘Bastards’ or something and are skeptical about the new album, how can you argue with live renditions of tracks like ‘Game Over,’ ‘Aesthetics Of Hate,’ ‘Imperium’ and the like?

Vim Fuego In the past, Machine Head has soared to mountainous metallic highs, and then plunged deep into despairing sewage filled depths. To say the band’s career has been inconsistent is a massive understatement.

At times, the band has been a shining beacon through eras of simpleton nu-metal and generic metalcore. “Burn My Eyes” was an intense indicator of where the post-thrash metal scene could have gone, but didn’t. Follow up “The More Things Change…” was heavier and more groove oriented, and was the peer to anything Pantera produced. In “The Blackening”, the band produced one of the most lauded metal albums of the first decade of the century, followed by the occasionally stunning “Unto The Locust”.

And then there were the misfires. The awful duo of albums “The Burning Red” and “Supercharger” are the red headed step-children best left confined to the attic. So which end of the spectrum are we getting with “Catharsis”?

Um… both.

Initially, this album sounds like a lame compilation of the worst metal pretenders of the past two decades.

The first track is “Volatile”. So far, so Devil Driver. All the ingredients are there to produce something which could and should be good, but isn’t. Yeah, it’s heavy, is played at a decent tempo, and the guitars aren’t bad, but there’s none of that breath-taking kick to the guts of Machine Head at top form. Ever wondered what Linkin Park might have sounded like if anyone in the band had ever learned to play guitar? The title track “Catharsis”. The less said the better… “Beyond The Pale”? Imagine Disturbed stealing riffs from The Bloodhound Gang.

“California Bleeding” lifts things a little, with more of a John Bush-era Anthrax feel with some decent melodies and strong riffs, and some fucking good solos. Yes, Robb Flynn and Phil Demmel remembered they can play their fucking guitars!

“Triple Beam” is probably the worst offender on the album. The listener is inflicted with a sub-Limp Bizkit turd, which even Fred Durst would be embarrassed by. The rapping is awful, the attempted melody out of tune and very forced, and the plodding, ultra-cliché’d riff is just dumb. It might be a song about a fight resulting in murder, but it’s insulting to the intelligence.

The clapping intro of “Kaleidoscope” is cringe-worthy, but it opens out into a bit of a rager, the likes of which the band made their name with. This song hits a sub-hardcore groove, and has powerful hardcore-shout vocals with suitable hard-hitting lyrics, but the word “Kaleidoscope” just can’t be sung aggressively and still sound convincing. It’s the best song so far, but not a redeemer.

And just when all seems lost, along comes “Bastards”. There’s that fucking shining beacon again. This is far from the typical Machine Head song. The song starts with a noodling guitar line, backed by an acoustic guitar. It is a “what the fuck”? at the Great Leap Backward which hit the United States politically and socially in 2016 and 2017 and, unfortunately, for the foreseeable future. It targets the newly empowered alt.right redneck “make ‘Murica great again” cadre of Neanderthals, racists, and religious zealots determined to drag the United States back to a time when people were property, a man could wear his pointy white laundry in public without shame, and God blessed it all.

This song was written the day after the Untied States of America (no, not a spelling mistake) decided an orange, racist, misogynist, former reality TV bullshit artist best represented what they stood for. Flynn’s heart felt, politically loaded lyrics perfectly portray the sense of disbelief, betrayal, and impending danger felt by decent people throughout his country, and the world over, as a once proud nation lurched into a state of quasi-fascism. And this is not one-off posturing from Flynn either. Earlier the same year, he rightly called out Phil Anselmo for a highly publicised white power Nazi salute.

As the song’s lyrics turn from disbelief to to anger, the music picks up an old school punk feel. Imagine Social Distortion gone feral. And the anger turns to resolve. “So give us all your faggots, all your niggas, and your spics/Give us all your Muslims, your so-called terrorists/We’ll welcome them with open arms, and put ‘em in our mix/We’re better off together now, embrace our difference”. A huge chunk of right wing metal fans are going to hate this song, because it cuts far too close to the bone.

And then it’s followed by “Hope Begets Hope, and the cliché and lameness is gone. THIS is the Machine Fuckin’ Head of days gone by. Big riffs, hard, harsh vocals, a driving beat, a well-placed solo, and it’s metal nirvana. And it keeps going, with “Screaming At The Sun”.

“Behind a Mask” finds Flynn singing within his limitations, and finally hits upon a decent vocal melody. It’s a ballad only in the sense it’s played with acoustic guitars and it’s not a balls out rocker. It’s followed by a string section intro, which turns into the epic “Heavy Lies the Crown”. The song expands into a sort of crusty power metal saga, then hits a thrash section, breakneck solos and all, before fading back to strings. “Psychotic” lives up to the title. “Grind You Down” has some of the most vicious vocals ever produced by this band. “Razorblade Smile” is traditional old school Machine Head, equal parts thrash, groove and hardcore. Then just for a final unbalancing step, “Eulogy” meanders for half it’s duration, with lazy guitars and lethargic vocals, but is unexpectedly overcome by a sludgy doom metal passage, and an ominous fade-to-black drone.

The initial reaction to this album is to go back to the start and try again. Were the first few tracks really so bad? Yes they were. Is the second half of the album almost like an entirely different band? Yes it is. Is it time to write these fuckers off? Up until “Kaleidoscope” I thought so. The rest of the album proves that you do so at your own peril.