Pain‘s latest follows Peter Tägtgren’s success with the Lindemann project with
Rammstein’s freakish Frankenstein-like genius of German engineering Mr.Till Lindemann.
The new album Coming Home is less an extension of that and more off-kilter twisting
turns from the Hypocrisy veteran and producer. You never know quite what you will get
from Pain and Coming Home is a cool addition to their career.
“Designed To Piss You Off” sort of comes off like a more industrial leaning RevCo song
with a more melodic chorus but galloping almost cowboy beat and some surprising
textures and twang meets distortion. The 2:38 bridge goes for a big hook you might
expect from Linkin Park but the song doesn’t lose any punch in pursuit of “size”.
Still, it is more of a lyrical theme than anything most folks would be pissed off by,
unless they dislike melody actually. Elsewhere “Natural Born Idiot” could please Threat Signal fans accustomed to diverse textures under one roof with industrial leanings, while “A Wannabe” has a killer kind of ominous intro that could almost be Led Zeppelin with a loop beat.
Full review and album preview BELOW.
“Call Me” charges in like a Fear Factory riff before a classic mid tempo industrial
metal vibe with some really big synth sounds carries us to the hyper charged verse
riff. The drumming is a powerful barrage. Sabaton’s Joakim Brodén adds needed extra
anger to the song, which suffers a bit from gloss but sounds incredible if played
really loud on a big system. The reintroduction of the intro riff at the bridge before
a big “oof” grunt helps really power through the middle of the song and evoke images
of epic conflict. Carach Angren’s Clemens “Ardek” Wijers does an amazing job assisting on the symphonic elements, some of the best touches on the disc.
“Absinthe-Phoenix Rising” is one of the most interesting songs, about being on tour with Nightwish and getting set upon and beat up while drunk leaving an Absinthe bar. I wonder if Tarja sent assassins and they got the wrong band? Either way, it has a really propulsive quality that sort of could vibe with Lacuna Coil’s underrated poppier Shallow Life. Also like that album you feel the songs probably connect a bit more live with a slightly more urgent human delivery and less studio perfection.
“Pain In The Ass” is kind of throwaway and redundant but “Final Crusade” breaks out of that with a super strong and heavy intro before a more muted but amazing and catchy verse riff and coherent chant vocal of melodic scream/speaking and singing moves the song forward. It’s “left, right” refrain and feeling of humanity as lemmings works really well with the huge sounds and the song is so energized it doesn’t even need screaming. By 2:28 though it has gone super heavy with almost The Browning meets Marilyn Manson thrown through a much darker, chaotic blender for some really unexpected twists that somehow work and then resolve back into a catchy return to the chorus. This song in particular really shows the marvel of the album’s intentions working on all cylinders.
This album works best if you embrace what it is rather than isn’t. It is more of a seducer than a severe punishing, crusher. The tones are impeccable and big, it sounds like it cost cash to make, the tunes have movement and power as well as very good composition. The lyrics work best when not trying to be shocking/machismo. You just aren’t going to have many frantic need to whiplash your head moments, but you will want to pump your fist a lot and sing along. And many of these songs will stick with you.