On their seventh studio album and first in five years, Finger Eleven has returned with a different sort of record than what most people would expect. While some tracks are kind of heavy, they’re not ‘super heavy.’ The most impressive things about opening track “Gods Of Speed” are the drumming of session player Chris Powell, which is so thundering and dense, and the always interesting vocals of frontman Scott Anderson, here at his peak vocally.
“Criminal” is by far the coolest song on the disc, in a way akin to 2007’s smash hit “Paralyzer.” It’s got the same kind of feel, just not as danceable, but it’s a really good cut, one that would sound great on rock radio. Anderson’s vocals are the best thing about the title track; he’s got such a nice groove to his vocals that they really help accentuate the song and in the end save it from being soooo mediocre.
The first single, “Wolves And Doors” is another okay track, but it just didn’t grab me. It just feels like another hard rock song that pretty much falls on its face. Where’s the grit? Where’s the power? Where’s the intensity? It’s not here, I can tell you that much. The seven minute opus “Come On, Oblivion” is the type of track where the band does the most experimenting. Another sort of meandering song that doesn’t really go anywhere. Simply stated: this is one of the most uninteresting records I’ve heard all year. Just another rock record destined to be remembered for one or two songs and nothing else.
“Lost For Words” is the most boring track here. It’s just the type of song you wish would end so you don’t have to bother with it anymore. Really guys, can we try anything else but this? It’s very easy for me to say that I was incredibly bored by this record. It’s always great for a band to stretch out and do some different things, but it’s not enough to make this record interesting. This is the sound of a band trying to regain their identity after a long time out of the spotlight, but at this point in time, it just all feels like it’s too little, too late.
