I’ve been a Hollywood Undead fan for quite a while, 3 or so years to be exact. On the other hand, I’m not a blind fanboy. To be completely honest, Hollywood Undead was a huge inspiration to me as a musician, and they are my heroes. On the other hand, I am not afraid to criticize my heroes if they majorly fuck up.
I say this because I’ve been fans of many bands and I have seen them change and/or sell out, and I’ve noticed a trend. A band I really like will release one, maybe 2, or even 3 or 4 albums that I really like (Dookie by Green Day, Master of Puppets by Metallica, Hybrid Theory by Linkin Park), then one album that is still very good, but not as good as the last (American Idiot, The Black Album, Minutes to Midnight), and finally, they’ll most likely sell out and make some awful garbage to appease the mainstream (21st century breakdown, St. Anger, A thousand Suns). Occasionally, a band will launch back into their old selves (Death Magnetic by Metallica), but that’s very rare.
My point in all of this is, Swan Songs was an amazing album. The brash catchy sarcastic party songs clashing against the serious, somber, epic, and badass rap-rock/nü-metal/rapcore anthems every other track was near perfection. All but 2 of the 17 tracks are on my Zune HD, and that is extremely good for an album. I’ve heard the Undead Demo, and I selectively plucked tracks out of the Desperate Measures Live/Covers album (audio side).
Introduction
So here’s the question at hand. What is this new album? Is it a Hybrid Theory? Minutes To Midnight? A Thousand Suns? The closest answer comparatively would have to be a Meteora. I personally enjoy Swan Songs more than this album. Now, that isn’t to say American Tragedy isn’t a good album, because it is. Swan Songs was just hard to beat, if not impossible.
Been To Hell
When you put in American Tragedy, you’ll be familiarly hit with some selective power chords from Charlie Scene on guitar. You might think the entire album is just going to be Swan Songs Par t II. It’s not, and that’s not a bad thing per-say, but it’s personally one of my favorite tracks on the CD, and honestly it reminds me a lot of “Undead” from swan songs. Danny Murillo demonstrates right off the bat that he can do just as well (if not better) than Deuce at what he did in his time in Hollywood Undead. Charlie Scene spits sharp verses that detail the “American Tragedy” of Hollywood, something previously mentioned in the Mini-documentary series “The Undead Story”. The drumming is heavier than in any Hollywood Undead track to date, showing a bit more of a metalcore influence (perhaps from the addition of Danny, who was formerly vocalist of Loren Drive). Overall, the track is a definite keeper, if you haven’t heard it already.
Apologize
Almost eerily similarly to the last album, the band immediately jumps onto the other side of its sound, with the chorus “We don’t apologize… and that’s just the way it is… But we can harmonize… Even if we sound like shit”. Hey, at least they’re honest! xDD But seriously, it’s a half-joking stab at critics, who pan the entire Rap-rock genre for not being technical enough, by saying “Hey, guess what? At least we can harmonize! Quit bitching!” If there was any doubt of sarcasm, Charlie Scene spits out lines like “don’t invite Scene over, he pees at sleepovers!” Then Johnny Three Tears takes over and delivers verses about a family with socio-religious issues (“Father’s still preaching, mother’s still dealing”), then makes a few scattered references towards the police. Overall, it’s a pretty good track. It’s hard to keep a straight face while hearing Charlie Scene spit his funky flow dissing himself.
Comin’ In Hot
Another track already released by the band. It’s more funny and funky rapping by Scene and Funny Man, a lot like “Everywhere I go” or “No. 5”, but, it has more of a dance-groove. This is the first real twist to the Hollywood Undead sound. Honestly, it sounds a bit overproduced. Autotuned clean vocals by Danny honestly leave a bit to be desired. If you’re lucky enough, you can find the more rock-oriented version of the song (without autotune, with louder guitar, and with a different second and third verse), that was released before the album came out, that is known as “Comin’ in Hot (Reprise)” or “Comin’ in Hot (Alternative Version). It isn’t on the album, and you can’t find it on iTunes *cough*cough*http://tinyurl.com/CominInHotReprise*cough*cough*). Still, whichever version you get, it’s still a pretty funny track, but the sarcasm might be lost on new listeners (but maybe that was the intention?)
My Town
The fourth track, “My Town” starts to go in a third direction. It’s not the old Rap-Rock/Rock Metal ofSwan Songs and it’s not like “Comin’ In Hot”. It’s more of an Alternative-Rock sound. It sounds like someone dropped in a piece of The Killers, and then maybe a drop of Yellowcard and mixed it all together. It’s still a pretty good track, and is actually quite moving. There’s not much rapping in it, and Danny’s voice takes on another sound. It’s a really good track, it’s just a bit surprising and unlike HU.
I Don’t Wanna Die
An reluctantly apologetic ballad, it isn’t the first by the band. It’s pretty similar to their older songs and honestly reminds me of a mix of “City” and “Paradise Lost”. Charlie Scene sounds remarkably like Eminem in the first verse with his verses questioning ultimatums. And making comparisons. It’s a truly remarkable song, a definite keeper.
Hear Me Now
Ah, the big single. Yes, we’ve all heard it by now I can garauntee it. Nonetheless, I’ll review it anyway. It’s much more instrument-heavy, not in a metal sort of way, but just in thickness. It’s another serious one about a person going through hardships and, honestly, sounds like “Been To Hell” in another perspective. Again, it’s not what you’re used to, it goes with “My Town” in sounding a lot more Alternative, but not nearly as much.
Gangsta Sexy
This has to be one of my least favorite tracks. I can’t put my fingers on it, maybe there’s a bit too much of the “dance” sound, maybe it’s because the chorus and the instrumentals on it are too repetitive. Maybe it’s because the usual sarcasm is either really hard to detect or non-existent. Honestly I have no clue what it is that really bugs me, but I know quite a few people (Read: Funnyman fangirls) really like it, so don’t write it off completely, so maybe you will like it. This is one of the few tracks on this album that won’t remain on my Zune.
Glory
A very cathartic track, this track probably has the most screaming on the CD, talking about self-sacrifice in the name of glory. It details all the hardships of being in Hollywood Undead, both in literal terms and metaphorical terms. It’s really pushing the alternative edge of the band, but if I had to liken it to a Swan Songs track, I’d have to say it’s closest to “Sell Your Soul”. But even that comparison feels like I’m just grasping for straws. It’s a very good track, but I’m sure it will be misinterpreted by those who oppose the band as a song talking about “selling out” or something (I’ve already read this on a few sites and I expect more of it).
Lights Out
Aggressive, fiery, venomous. These words describe “Lights Out” very well. This is the only diss track on the album, but it’s very potent and holds class at the same time. Charlie Scene shuts down a former friend with vivid metaphors and similes. Who is it a diss to? Ex-clean-vocalist Deuce. It even says his name in the line “Deuce you callin’ me out here’s got me provoked, Now I’mma cut your ass up like a line of coke”. Charlie also adds in a guitar solo a first for Hollywood Undead. It’s a bit hard to hear, but it is very much there, and it just adds a nice little bit of flair.
Coming Back Down
Ha, I remember the first time I heard this song… I sat there and honestly questioned if it was by Hollywood Undead. It’s definitely the biggest departure from the sounds of Swan Songs. It’s surprisingly emotional (without anger). Both acoustic and electric guitars fill the chorus, and Danny’s voice sounds very nice with the echo effects and double tracking. The verses are good for the most part, with J3T’s being the least consistent, but still fairly good.
Bullet
I really don’t know where to start with “Bullet”. I guess I should start here: Either you’re going to love it, or you’re going to hate. It has a poppy, acoustic sound, and even most of the vocal tones sound pretty happy, but the subject matter is very dark. The entire song is about suicide. It ends very much like “Young”, with a small child singing, but this time it’s much more twisted. Like I said, you’ll either love it or hate it.
Levitate
Another one of my favorite tracks on the album, this song shows Danny’s superior variety of tones and vocal range in comparison to ex-vocalist Deuce. The song has a lot of that newer “dance” feel, which, on this song, honestly doesn’t bother me at all, because I honestly think it wouldn’t sound right without it. Even the vocoder effects honestly add some necessary depth when it comes to this song. The verses are extremely catchy and very quickly paced, even for Hollywood Undead.
Pour Me
This song reminds me very much of “Circles” and “The Diary”, with the lyrics, theme, and overall sound. It’s a confessional song but with hints of optimism. The hook is a bit clever, blending between the phrase “poor me, poor me”, and “Pour me another”. It talks about homelessness and depression, again going again with the common themes of the more seriousness songs. Oldschool HU fans from the Undead Demo will most likely appreciate this one If they like or don’t mind the melodic chorus.
Tendencies
Another twist on old style, Tendencies is one of the more badass metallic anthems on the album. If I had to compare it to an older HU song, I’d have to compare it to “Undead” from Swan Songs. Honestly though, it has thrash metal sound (with a bit of rapping thrown in). It’s a nice expansion to the Hollywood Undead sound. It’s one of the more polarized tracks of the Rap-Rock sound. It’s a definite keeper.
Mother Murder
With striking resemblance to “Black Dahlia” of Swan Songs, this extremely emotional and angry track has a similar theme: a girl who fucked a guy over. It’s pretty good, the only complaint is that they use the phrase “this blood on my hands” in the chorus, which honestly is a phrase that is a bit overused by the band, in the album, and in general. Other than that, it’s filled with vivid metaphors and raw emotion. It’s also worth mentioning that Charlie Scene sounds uncannily like Eminem for some reason in this track, even more than usual.
Lump Your Head
This track was a huge surprise to me. A jazz-rock-rap song? It sounds like Hollywood Undead actually went back in time but still retained much of their signature funkiness, speaking of ridiculously nefarious activities like derailing trains and robbing banks. Again, this is another one of those tracks; either you’ll love it, or you’ll hate it.
Le Deux
This is the only other track I really didn’t like off of this album. I don’t’ like the verses in it, they just seem really uninspired. Maybe it’s because I don’t particularly enjoy hearing about Funnyman “getting fucked up as I’m changing lanes” (drinking while driving), about how he is “so damn edible” and “delectable” or about how he has a “dick like hulk and they call [him] incredible”. Maybe it’s the chorus that just feels like a modern AC/DC song that’s just talking about “hit[in’] it all night long”, and about how “that bitch is off the hook”, but how she “ain’t no slut”… It also reminds me of Street Sweeper Social Club. Oh, and the MJ reference was honestly kinda lame… He is dead yes, but he’s been dead a while, and it’s time to move on. Every half-ass rapper has made a mention of Michael, and you shouldn’t follow them. Lastly the clips of female orgasms don’t turn me on (if that was the point), they just make me feel awkward as hell. Yes I am straight, and yes I find those noises enjoyable, but not IN MY MUSIC. It reminds me of “Welcome to The Jungle” by Guns ‘N’ Roses. It made me feel awkward then, and it makes me feel awkward now. The only difference is that song is so simply amazing that that part can be forgiven.
SCAVA
Another epic-sounding apocalyptic song, this song bears similarities to “City” and “Paradise Lost”, but less angry, and much more melancholy. J3T does everything but the choruses, and to be honest, he does a pretty damn good job. It’s a very good and poetic track. This is one of the bonus tracks that I’m definitely glad that didn’t get left on the cutting room floor. Honestly, in this case, the increased production and post-production makes the song sound better and improves the mood and tone of the song.
Street Dreams
What could I really classify this track as? Industrial is my closest guess. And HU’s experiment with the genre turns out quite nicely. Trent Renzor would be proud. It’s another serious song and the surprisingly deep lyrics remind me of a song by one of my favorite bands, “When I’m Awake” by Magna-Fi. I make these comparisons because it’s nothing like any previous Hollywood Undead song. It’s a shame that it’s an iTunes exclusive too, because I honestly would have traded it for “La Deux” without question.
Final Words
Give the album a listen, especially if you liked Swan Songs, and don’t ignore the bonus songs, because some of them are very much worth your time. Maybe you won’t like it as much from the change in sound and slight over-production Again, this album is like LP’s Meteora as Swan Songs is to Hybrid Theory. The sound is somewhat different, but the core of what makes Hollywood Undead Hollywood Undead is still there, even if some portions of it might be a little harder to find on the disc. So here’s the big question everyone likes to ask: Is it better than swan songs? In my opinion, the answer is no, but it’s a close second, and it shows growth and development for a great band with a huge amount of talent, and it shows that Deuce wasn’t the creative mind he claimed to be. Some people I know like the new album better than Swan Songs, but that’s up to you to decide in your own opinion.
Favorite Track: "Been To Hell"
Least Favorite Track: "La Deux"
Numeric Score: 9/10
