In what is essentially a brand new band, Filter have existed from 1993 as a project from singer, Richard Patrick. Being the only constant member in the band and with a line-up that changes on pretty much every album, it is safe to say Filter is Richard Patrick.
This is noted especially well on the track ‘Kid Blue, From The Short Bus, Drunk Bus’, in which it feels Patrick is singing almost incoherently about a drunken experience. This track goes up and down, but feels like one of the most simplistic points on this album. For most bands, this track would be the point in which the group would be at their most experimental, but Filter they have barely begun their journey into the strange territory.
This leap would be made on the track ‘Under The Tongue’, in which the band go into what can simply be described as an instrumental. Singing is heard on this track, but no real words are actually heard. This would work amazingly, but unfortunately this track goes for 6 minutes and it feels like nothing happens.
Keyboardist Bobby Miller adds a lot towards the context of the album. This can be seen on the track ‘Welcome To The Suck (Destiny Not Luck)’, in which the amazing orchestral sounding electronics build an epic conclusion to a roaring rock ‘n’ roll track. Given that this is a band that sound creative at the best of times, this is grown hugely due to Miller‘s involvement.
The freshest recruits (guitarist Oumi Kapila, bassist Ashley Dzerigan, and drummer Chris Reeve) play the role of session musicians in anything other than their band profiles. Their role is to play what Patrick creates for Filter, but thankfully all do an amazing job on the album. Hopefully within the future these can all play a creative role, but this album proves they have to creativity to join a group as established as Filter, with ‘Your Bullets’ being a major highlight.
This is an album that does have a few duds, however, with opener ‘Mother E’ feeling like a King 810 rip off, and ‘Nothing In My Hands’ going into Rob Zombie territory yet irritatingly simplistic. It then tries to over compensate by going too far in the other direction on tracks such as ‘(Can’t She See) Head Of Fire, Part 2’, in which the band start off with a ballad, but by the end fizzle into what feels like a completely bland way to close the album, through the want to just be creative for the sake of it. This is an album that can be enjoyable, but there are a lot of moments that need to be listened to repeatedly or in fact skipped over entirely.
Written by Bradley Cassidy (@bradcassidy170)