TuneLab Music - Everything Rock

Posted: August 12th, 2008
Contributed By: Nick

	Purchase @ Amazon.com Release Date: August 19, 2008 via Atlantic
	Staind is: Aaron Lewis (Vocals / Guitar) Mike Mushok (Guitar) Johnny April (Bass) Jon Wysocki (Drums)

Overview: It’s Staind, man. These four guys from Springfield, Massachusetts have come along way from having Limp Bizkit limpdick Fred Durst try and squash their opportunity to open for LB one night after being repulsed by the morbid cover art of its first album, ‘Tormented‘. All that he said, she said would subside, and Durst made Staind a proud new member of his Flip Records imprint soon after. In 1999, Staind’s major label debut ‘Dysfunction‘ hit the streets, and from there, you can all pretty much write the rest. From the frenzied response and mainstream dominance of “It’s Been Awhile”, to my prized photograph with Aaron Lewis from May 2008, Staind has run the gamut; but why stop? After declaring a hiatus was in order after completing the album cycle for the platinum ‘Chapter V‘, Staind rescinded, and rushed right back into the studio to crank out album six. And on August 19, 2008, ‘The Illusion of Progress‘ is born a brand new Staind opus.

The Good: If you really, honestly, and sincerely believe that Staind have titled their latest effort ‘The Illusion of Progress‘ because it is the band’s way of masquerading uninspiring, blase material in Houdini-like fashion, then maybe Criss Angel’s corporate smoke and mirrors are all you need to be placated. For those of you expecting a Staind true to form however, you’ll be getting your money’s worth once again. “This is It” is no heat-seeker, utilizing trancy verses and booming, busty choruses to eloquently map out the mood of the record. Their most exploratory, intrepid album opener to date, “This is It” is a cunning way to get the ball rolling. Moralistic and soul-searching lyrics make up the headlines from “The Way I Am”, bolstered by a graceful synergy of thick drums, sonic guitars, and a grumbling bass-line. The first single from ‘The Illusion of Progress‘ comes in the form of “Believe”, a meat and potatoes Staind number that still boasts a swagger marked by see-sawing melodies and a universally palpable chorus. The sensitive and sympathetically doleful verses of “Save Me” enable the tune’s hearty, robust chorus to protrude out from the pack. Like “Believe”, “Save Me” is textbook Staind, but is set ablaze when Aaron Lewis’ bridge-ending whispers dynamically rise and burst into flames; “Save Me” is intrinsically smart, but just doesn’t choose to let everyone know about it. “Pardon Me” rolls out an ethereal and very sexy red carpet segue, creeping you into and helping you digest the booming and expansive chorus. Audible for years and oozing with original flair, the epic guitar solo of its bridge will surely turn heads, further proving “Pardon Me” as one of the album’s most sultry and organic jaunts. “Lost Along the Way” commences with perked up drums, whose consistency early on drops insinuations of a flower needing to blossom. This feeling is satisfied by the track’s radiant and rich chorus, as Lewis belts fervently overtop. “Lost Along the Way” could have squeezed right into ‘14 Shades of Gray’, best described as “How About You” with a bit of a rebellious streak. More eclectic than meets the eye, the fluidly textured “Break Away” has all its elements’ cylinders firing in sync, crowning the song with king dynamics and gifting it with a more wholesome sounding chorus. If you thought ‘Break the Cycle‘ was over with and done, think again. “Rainy Day Parade” is a hungry, surging, and undeniable blast to 2001, which will have you breaking out Staind’s third record for a double take; really though, “Rainy Day Parade” begs to be the cousin of songs like “For You”, “Fade”, and “Safe Place”, so for all you quitters who left Staind behind years ago, this is your chance for a reunion. ‘The Illusion of Progress‘ takes a bow with the whimsical and majestic aura of “Nothing Left to Say”. The song’s verses are scrappy footsteps of earthy and jazzy notes in their own league, mutually exclusive to the gunning chorus redlined by a throaty and assertive Aaron Lewis. The very last line of the song reads “nothing left to say”, delivered by Lewis through his teeth, like a soft-spoken whisper with penetrable fangs. A ghostly and intriguing way to cap off the disc, it’s almost as if the final line is meant to be interpreted as “you haven’t seen the last of us”, a thesis that will hopefully ring true.

Usually on every Staind album, I grow fixated on four tracks. This trend has carried over from each Staind record to the next, and comes full circle once again on ‘The Illusion of Progress‘. Despite having the teeniest hint at an overachieving hit by The Killers, “Raining Again” dissolves those shenanigans in a flash. The grooving verses are rock steady, but the song’s commanding and omnipotent chorus envelops you, hypnotizes you, and pulls you in. By letting a guttural, grungy, and ever-so vintage bridge take shelter, “Raining Again” adds some cunning flavor; it may seem like an underachiever at first, but if you give the song an ample chance to win you over, you will be pouring down on track 10 again and again. “Tangled Up In You” is a desolate stage, just Aaron, his guitar, and a whole hell of alot of sentiment. Dripping with folky overtones, Aaron Lewis executes flawlessly what Johnny Cash would want someone following in his footsteps to sound like. If not for the breathtaking homage to Mr. Cash, then the healing and sensual words of “Tangled Up in You” should drop your jaw, one of Lewis’ and Staind’s most heartfelt recordings ever. Hopelessly, yet blissfully nostalgic, “The Corner” will leave you pondering the yesteryears with a giant grin spanning your face. Uplifted by an accompaniment of R&B inspired, choral-style vocals, “The Corner” takes on a Steve Winwood vibe, which, although sounds perplexing is actually quite brilliant. Soloists, both male and female, step out to duel Aaron Lewis at the podium, infusing an entirely new entendre of catharsis, carte blanche, spirit, and just a smidgen of youth that keeps tugging at you. Professional in both its zeal and dramatics, “The Corner” is an elite addition to the Staind repertoire. Despite the flawlessness of the aforementioned trio, my pick to click from ‘The Illusion of Progress‘ is “All I Want”. From beginning to end, this song epitomizes a smash, and serves as the first real emotional charge from Aaron Lewis on the disc. A starry-eyed anthem for lovebirds, “All I Want” is everything you’ve ever wanted to tell that special someone, yet couldn’t quite muster up the courage to say; leave it to Lewis’ lyrics to do the dirty work for you. As “All I Want” plays on, you will reminisce about things like your first kiss, your first true love, a special someone whom you love dearly, or even someone close to you like mom or grandma. “All I Want” is a crystalline, glistening gem that beckons your tears at the same time, a truly spellbinding and marvelous work.

The Bad: ‘The Illusion of Progress‘ is like a pinata from a party at Billy Madison’s house when he passed a grade-filled not just with your usual favorite sweet treats, but also with lavish inclusions like Rolex watches. The only thing that makes the new Staind album different is the amount of time it will take you to bust open that dangling donkey to get to the goods. The first portion of ‘The Illusion of Progress‘ is, in essence, a sleeper, momentum not really getting started until “All I Want” wipes its four predecessors far off the stage. This was very surprising to me, as I have always been used to a Staind that got my attention right at hello, and had my interest cemented down before the first track could finish. Because of its sluggish, and at times meandering first third, ‘The Illusion of Progress‘ might seem stale and tired before its real bounty ever sees daylight. In that same vain, there is no song here that really puts some oomph into this bitch, even if just to stimulate and stir the pot to make sure you were paying attention. Although cruise control might be an I-95 trademark, it certainly doesn’t do much justice for Staind’s latest attraction. Aaron Lewis has some stellar moments on ‘The Illusion of Progress‘, but they seem more calculated and determined than usual. On that same note, many of the album’s verses tend to sound uniform at first. How do these two tie together? It just feels like Lewis isn’t utilizing his ungodly vocal gift the way he has before, remaining noticeably timid and restrained until he has all the room in the world to shine. While I admire his modesty, it was the little things about his delivery that helped build character within each song, nailing home the cliche once again, “it’s the little things that count”.

Bottomline: There’s no way you can listen to a Staind album and not have chills shooting up and down your spine at least once. If you tell me you are able to listen without getting that feeling, then maybe you need to be treated for one major f–king blunted affect. Without fail, ‘The Illusion of Progress‘ will re-enact those Staind shivers, and on more than one occasion as they habitually appear. The only real anchor keeping this ship from setting sail is the tortoise holding it down. Slow and steady might win the race, and although Staind’s sixth birthing is a winner, the pace at which it arrives at its trophy finish comes at a cost. Looking past its downtrodden bogeys, ‘The Illusion of Progress‘ has a more than ample collection of songs to service Staind fans happier than Tom Cruise on an Oprah stage or sadder than a Chicago Cubs fan in October. Don’t be fooled by any illusions you might see, because although the progress Staind makes here might take a little longer to comes into focus, the resulting sights and sounds will marvel you just the same.

Rating: 7.5 out of 10