{"id":42130,"date":"2010-10-04T00:00:00","date_gmt":"2010-10-04T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-trouble-with-angels\/"},"modified":"2010-10-04T00:00:00","modified_gmt":"2010-10-04T00:00:00","slug":"the-trouble-with-angels","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-trouble-with-angels\/","title":{"rendered":"The Trouble With Angels"},"content":{"rendered":"<p class=\"MsoNormal\" style=\"text-align: justify\">Every time Richard Patrick sticks to what he is good at, his music sounds great; this has worked for every Filter record, and does too, in the case of <i>The Trouble With Angels<\/i>. Even with the anti-war pontifical stance of Filter\u2019s previous work <i>Anthems For The Dammed<\/i>, Patrick never fully compromised his trademark style for the sake of protest. But <i>Angels<\/i> offers more; it is classic Filter, as Patrick returns from the cloud of righteousness to tackle themes of personal downfall \u2013 drugs, bad childhood, bad parents \u2013 that are more near and dear to this band.<\/p>\n<p class=\"MsoNormal\" style=\"text-align: justify\">There isn\u2019t much diversion musically from the previous record, but <i>Angels<\/i> is a much tighter record. The numbers are punchier, fast and fierce, and album throws them in hard blows, which has a comforting feeling of familiarity from the days of Filter from the \u201890s. With most songs under four minutes, there is not much complication to deal with and all the goodness of Patrick\u2019s screams, husky guitars, and speedy industrial-pop to enjoy.<\/p>\n<p class=\"MsoNormal\" style=\"text-align: justify\">With <i>Anthems<\/i>, Filter tamed some of its edge, and the record\u2019s beautiful industrial drone didn\u2019t possess the same magic of the previous efforts, which made it the group\u2019s weakest title. In this respect, <i>Angels<\/i> is a strong effort. Although not the stuff of <i>Short Bus, Title Of Record<\/i>, or <i>The Amalgamut<\/i>, <i>Angels<\/i> has its moments of time-honored Filter aggression that feel as good as it ever did. The album opener \u201cThe Inevitable Relapse,\u201d followed honorably by \u201cDrug Boy\u201d and \u201cAbsentee Father,\u201d set the mood up nicely for this. The rest of the album doesn\u2019t have the same brilliance as its three opening cuts, but \u201cDown With Me\u201d and the title cut are as tenacious.<\/p>\n<p class=\"MsoNormal\" style=\"text-align: justify\">Filter has been a master of turning the most aggressive industrial metal music to superb pop candies for radio-friendly ears. But as was the case with <i>Anthems, <\/i>the more pop-friendly tracks on <i>Angels <\/i>sound like any other regular songs on alt-rock radio: \u201cNo Love\u201d and \u201cCatch A Falling Knife\u201d aren\u2019t really the stuff of pop excellence like \u201cTake A Picture\u201d and \u201cWhere Do We Go From Here.\u201d \u201cNo Re-Entry\u201d on the other hand, along with \u201cFades Like A Photograph,\u201d is admirable.<\/p>\n<p class=\"MsoNormal\" style=\"text-align: justify\">Although nothing drastically unexampled should be expected of <i>Angels,<\/i> it is an excellent record, and beyond shadow of a doubt, a far better one than Filter\u2019s previous effort. <\/p>\n","protected":false},"author":40,"featured_media":30466,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"tags":[],"artist":[6415],"rating":[5617],"class_list":["post-42130","review","type-review","status-publish","has-post-thumbnail","artist-filter","rating-rating-b-plus"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/42130","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/40"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=42130"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/42130\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/30466"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=42130"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/tags?post=42130"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=42130"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=42130"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}