falling in reverse

Falling In Reverse 'Coming Home'






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falling in reverse

Falling In Reverse 'Coming Home'






Coming Home

(Epitaph Records)

     As a whole, the bulk of the music journalists at the gap-toothed epicenter of the blogosphere are often quite eager to abuse and overuse the terms 'groundbreaking', 'revolutionary' and even 'breathtaking' when describing the artists and groups they feel are deserving of additional or renewed recognition. Unfortunately for you, the increasingly-faithful reader/listener/viewer, this has resulted in you being repeatedly subjected to my painfully adjective-riddled prattling concerning State Of Euphoria era Anthrax, Dream Theater, ex-Holland/Nitro axeman Michael Angel Batio and post-Metal Health Quiet Riot (i.e. QR III, QR and Terrified) on a semi-regular basis throughout the course of my checkered career. Not surprisingly, when we were initially approached regarding coverage of the highly-anticipated Coming Home, the latest high-octane offering from controversial Las Vegas, Nevada-based Post-Hardcore and Metalcore titans Falling In Reverse, we were more than happy to overindulge.

     On the stellar Coming Home (2017), an expertly assembled eleven song collection of arguably-experimental Hard Rock and Heavy Metal, each track, beginning with the relentlessly pummeling third single “Broken” and the self-explanatory “Fuck You And All Your Friends”, immediately commands the rapt and undivided attention of even the most jaded and unimaginative of listeners, myself most definitely included. Undoubtedly attempting to capitalize on the veritable tidal wave of momentum initiated by the release of the equally well-received Just Like You (2015), the group fires on all cylinders early and often via a multi-dimensional blend of soaring vocals, blistering fretwork and imaginatively punishing rhythms. Stylistically differentiating themselves from their few remaining contemporaries (and, more importantly, their forgettable long-defunct brethren), the group refuses to conform to the downtrodden, tried and true 'formulations' of the crème de la crème of the genre's would-be elite.

     Continuing with the maddeningly infectious, Pop-Punk-propelled “I'm Bad At Life” and the quasi-anthemic 'love song' “Hanging On”, the newly-rejuvenated combination of vocalist/rhythm guitarist Ronnie Radke lead guitarist Christian Thompson (replacing the inexplicably departed Jacky Vincent), rhythm guitarist Derek Jones, bassist Zakk Sandler (Black Tide) and drummer Ryan Seaman (Aiden, Icon For Hire, The Eyeliners) steamrolls ahead at what can only be described as a carefully-calculated pace. Reminding us all of their well-deserved place amid the perennial forefront of the public's musical consciousness (love them or loathe them, each new release is greeted with a flurry of drastically opposing press), the group delivers the goods without, believe it or not, borrowing too heavily from their own past. Boldly building upon their brazen Post-Hardcore and Metalcore roots, the group unleashes an initial sonic assault that easily exceeds the most optimistic of 'fanboi' expectations.

     Co-Produced by Radke and the oft-acclaimed Michael 'Elvis' Baskette (Alter Bridge, Ratt, This Type Of Thinking) and Dangerkids vocalist Tyler Smyth (Before The Streetlights, Last Band Standing), other standouts, including the emotionally-charged “Straight To Hell” and the equally impressive closer “The Departure”, offer a wealth of further evidence in support of the group's still-burgeoning reputation as a bona fide creative force not to be ignored. Ultimately succeeding by repeatedly subjecting the average elocutionist (i.e. you, the increasingly faithful subscriber) to a painstakingly quintessence of their unnervingly over-the-top modus operandi, the group ultimately succeeds by pandering to their legions of notoriously rabid constituents. The end result(s), as you've almost assuredly deduced at this juncture, of the group's more than considerable efforts are indeed quite worthy of the highest of critical and commercial dissimilitudes and, as a result, deserve to be re-called in such a manner.

      But is it really that good? That depends entirely on your particular point of view. With the majority--if not all--of the decidedly polarizing wares contained herein seemingly guaranteed to leave die-hard completists less than enthralled (and with Coming Home serving as a less-than-ideal 'introduction' to the group's discography), Coming Home--and thus the group itself--succeeds by effectively harnessing Radke's already well-documented lyrical and compositional wizardries. Regardless, the end results of their more than considerable efforts are indeed worthy of the highest of critical and commercial accolades, making the almighty Coming Home one of the finest moments of the rapidly waning year. If you've once again found yourself in search of a refreshingly supercharged reprieve from the puréed banalities that have so often been the mainstream of yore, then this, my friends, might just be the high-octane counter-measure for what ails you. Trust me, you will not be disappointed.

Select Discography

Coming Home (2017)

Just Like You (2015)

Fashionably Late (2013)

The Drug In Me Is You (2011)


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