Crimson Tears (The Amalgamut - Filter)

Member Name: dreamerz

Product:	The Amalgamut - Filter
Date:	07/08/02 (240 review reads)
Rating:

Advantages: 'The Only Way is the Wrong way', 'American Cliche', 'The Missing'

Disadvantages: The experimental nature of the final two tracks detracts from the album as a whole a little....

Three years on Filter finally return with their third album after the break through success of 'Title of Record'. In many ways this is Filter's 'post' album. Post commercial success: 'Take a Picture' was a massive radio hit stateside and even made the top thirty over here and the album went platinum worldwide. Post 'The Fragile': 'Title of record' preceded the last Nine Inch Nails studio album by a good few months and in retrospect served to demonstrate the former acolyte, Richard Patrick, had defeated the master at his own game. Trent Reznor's last studio record was a bloated struggle to regain lost form; weighed down my its double CD status, too much filler and too much ambient experimentation, whilst 'Title of record' was a tight, razor sharp example of how to make a modern, industrial tinged rock record.

Post break up: the last Filter album was thematically dominated by the disintegration of Patrick's long-term relationship, inspiring tracks of both melancholy and rage. Finally post 11th of September, and it is this final event, which gives a clue to the albums central concerns. As far as I can tell this is the first major rock album to be released having been written in the period immediately following the terrorist attacks on America, and it is clear from the lyrics that Patrick like many of us was effected deeply. Forget Ryan Adams and Paul McCartney's tedious excuses for flag waving in the weeks immediately after the outrage, on 'The Amalgamut' Patrick reflects seriously on the changed world ushered in post 9/11, looking deep both his own and the American psyche and not always liking the answers.

Patrick is certainly one of few major US artists to ask any questions in the aftermath of the attacks. The note he sounds is neither entirely critical nor conciliatory, in many ways it is the voice of an ordinary intelligent person raising a murmur of disapproval against a se
a of righteous conformity. The title of the albums flyer single 'Where Do We Go From Here?' pretty much makes his point for him. It is perhaps unsurprising that given the title and quite possibly ironic decking of the American flag on the single's cover artwork, Filter's label decided not to release the single on July 4th as originally planned; delaying by a week although one suspects failing to dilute Patrick's message. The central lyric of the chorus "Where do we go from here? / I know I'm not the only one" sees Patrick voicing the concerns many of us feel about American policy after September 11th, whilst "Stop dreaming about that shiny gun" is more explicit still. 'The Missing' which was written in the days and weeks immediately after the tragedy, finds Patrick questioning both God and his fellow man as well as his own gut reaction: "He said turn the other cheek / But that seems kind of weak," whilst the following line "I just want to beat up the meek," is a fairly abrupt description of the Bush 'War on Terror'.

Patrick fails to steer clear of other political targets too. The thundering 'Columbind', addresses the Columbine massacre by the infamous 'musically inspired' Trench Coat mafia, in a rather similar vein to the Boomtown Rats 'I Don't Like Mondays', only substituting Saint Bob's jaunty melody of a blistering dose of riffage more in keeping with the supposed preoccupations of the perpetrators. 'American Cliché' meanwhile takes a sideways swipe at the sheep mentality in US culture, sneering "Last seat on the bus / Who you gonna trust?" Whilst the penultimate 'I Like the World Today' follows on from 'The Missing', with its naïve, semi world weary plea.

Not that the lyrical content is entirely limited to political comment. 'The Only Way is the Wrong Way' is a rewrite of 'I Will Survive
', for the industrial generation: "Did you think that I would disappear / Did you think that I would wash away / Did you think that I would last this long / Did you think I would get so strong?" which stands in stark contrast to say 'I'm not the Only One' from 'Title of Record'. Other tracks such as 'So I quit' and 'You Walk Away' address relationship breakdowns in a similar but somehow less impassioned fashion.

Musically, 'The Amalgamut' is largely a consolidation exercised, following on from the startling about turn the band performed between 'Short Bus' and 'Title of Record'. The same elements that made 'Title...' such a thrilling listen are once again present, buzzing guitars, intense vocals and huge swathes of melody scattered liberally throughout the album's twelve tracks. Noticeably the electronica element of Filter's sound has been side lined even further then previously. There is no close relation to say 'The Best Things' bubbling mix of Depeche Mode and grunge. The keyboards are still present in the background as are the syncopated beats and drum machines, but now they undoubtedly take a back seat to the more traditional band dynamic of guitar, bass, live drums and vocals. Tellingly no less then four tracks have acoustic guitars playing a significant role in the instrumental make up, certainly a rarity for a metal, never mind 'industrial' band. But then Filter seem to be moving further and further away from that industrial label and towards the mainstream, crucially however, keeping their self respect along the way.

In some ways this album seem schizophrenic, on the one hand you have mainly acoustic and sensitive tracks such as 'God Damn Me', and soaring slabs of pop rock like 'The Only way is the Wrong Way' and the other you have some of the hardest material of their career, like the bruising 'Columbind' and
'So I Quit', that serve to prove that Patrick may have learnt how to sing but he hasn't forgotten how to scream. However, even at the albums most intense moments you are seldom more the thirty seconds away from a clever hook and a strong melody. Patrick may be still playing to the metal audience but he hasn't made the mistake of forgetting how to write a memorable song whilst punishing his guitar and vocal chords.

Flyer single 'Where Do We Go From Here?' was in many ways the obvious choice for a lead off track, setting aside the political connotations for a second, it sits neatly between Filter's two apparently split personalities. Mixing as it does, a simple driving acoustic verse and a massive slab of electronically enhanced guitar on the bridge before accelerating into a swooping chorus with a naggingly infectious hook. The lyrics of course can be read as much as an indictment of a failing relationship as a failing foreign policy, although the clues scattered throughout "I know I'm not the only one" and "Stop dreaming 'bout that shiny gun" suggest otherwise.

Not that Patrick wishes you to think that Filter have gone entirely soft in their middle age. 'Where Do We Go From Here' is sandwiched in-between three snarling bursts of rage. Indeed the positioning of 'You Walk Away' and 'American Cliché' as the opening two tracks of the record could well be intended as a riposte to those who accused Patrick of selling out with his more melodic sophomore album. 'You Walk Away' certainly opens the proceedings with a band, a light metallic riff is quickly joined by another and then another before the drums and crushing bass enter, certainly adding bite. Patrick's vocal is clipped, with a deliberate twang, whilst the bridge repeatedly sees Patrick yelling "Shout!" over a sea of violent noise. The chorus, which rises about of this, has an odd calm after the
storm quality, with Patrick's voice almost crooning, complete with echoing harmonies, above the still churning guitars. The instrumental, flirts with NINesque electronics before breaking down into another guitar workout.

Better still however, is the seething 'American Cliché' which immediately follows. A strangled high-pitched guitar opens before the malevolent bass quickly enters to dominate the entire track. Patrick's vocals are a visible sneer at his target and build nicely into the sudden explosion of the chorus, which thuds along with the same power and knowing hooks which made 'Skinny' such a highlight on 'Title of Record'. As Patrick screams, "Cut" over the increasingly omnipotent backing, it is clear that Filter have lost none of their bite.

'Columbind' is more threatening still. The diseased guitars and distorted vocals of the verse recall Marilyn Manson circa 'Anti-Christ Superstar', which given the songs subject matter was no doubt the idea. The chorus meanwhile pounds away with another surprisingly memorable melody, proving that noise and tunes can mix when the authors so desire. The lyrics split between a first person view of the Columbine killers on the Manson aping verses and a more despairing third person verse which cries "Child / You want everything / You kill everything". No marks perhaps for the attempt at amateur psychology, but the track is a brave and belligerent attempt to tackle a subject which confronted metal and it's associated genres in the knee jerk reactions after the massacre.

'The Only way is the Wrong Way' then presents the completely opposite side of Filter's character: unashamedly radio friendly and incredibly infectious. The melodic bass line, and resilient vocals of the bass carry faint connotations of New Order, whilst the impressive sweep from verse to bridge and to sky scraping rush into the exhilarating chorus r
eminds of U2 at their finest. The lyrics are a defiant swipe at a former lover, and increasingly the world in general "Every time they try to make me change / They just weigh me down with more chains" complains the bridge before the swoop of the chorus carries away the protagonists self doubt. However, it is the melody that is the real star, the hook in the chorus is amongst the best I've year this year (quite a compliment from me as already 2002 has been an excellent year for music in my opinion) and the track is likely to quite simply eat radio when it is inevitably released as a single. 'God Damn Me' meanwhile, continues where 'Take a Picture' left off with a simple, sweet melody, largely unadorned acoustic guitars and a rich vein of harmonies unearthed on the chorus. It will no doubt infuriate those who wish Filter to stay in the metal ghetto, and give more fuel to the selling out fire but when the results are as fine as this, who really cares?

Elsewhere there are other hints that the bands preoccupations no longer lie exclusively in rewriting Nine Inch Nails back catalogue, albeit crossing it with a hint of pop metal. 'My Long Walk to Jail', the first Filter track that Patrick hasn't had at least a hand in penning (its written by guitarist Geno Lenardo), has more then a hint of the Red Hot Chilli Peppers to the funky guitar line, wandering bass line and sun kissed melody. The tub-thumping chorus will no doubt sound erupting on the dance floor of an alternative club, twisting neatly between a bellow of rage and a sneaky hook, which infects the listener's head. 'So I Quit' meanwhile is arguably the albums fiercest moment, sounding at least instrumentally curiously redolent of Rage Against the Machine. The clues are of course there in an opening snarl of Zach de la Rocha's favourite swear word (i.e. the one that suggests an Oedipus complex), quickly being followed by an orgy of rolling unadorned m
etallic guitar. The verse is sits midway between a rap and a scream, whilst the slightly unnecessary spoken swearing on the instrumental is clearly reminiscent of 'Killing In the Name Of'. Surprisingly even on this hard faced song, Patrick decided to add a lighter sung chorus, complete with a memorable melody, through which even those who would usually be terrified by this kind of thing can find an opening.

'The Missing', penned in the immediate wake of September 11th, is the record centrepiece and is put simply stunning. It has been described as Filter's first ballad (which rather ignores 'Miss Blue's thrilling acoustic folk), but sweeping out of a nihilistic wash of bass and keyboards comes a clear and pure melody and a lyric which is unafraid to articulate both shared pain and ask questions at the same time. The song questions God, both that of Christian America, and perhaps the more avenging Moslem equivalent "Hey God / Told us that we made / A very big sin." The chorus, which builds into a blazing inferno of pain and tired expectance, is both impressive and moving. Patrick keeps the identity of the songs audience deliberately oblique, who exactly does "You love to be cruel" refer to? The guitars that gradually build to the final repetition of the refrain, buzz with rage suppressed by guilt, whilst the simple melody and hard hitting hook line attacks the listener's subconscious one final time.

After nine tracks, which create a high water mark for US rock this year, it is a little disappointing that the final three tracks of 'The Amalgamut' don't quite live up to the standards set elsewhere. 'It Can Never Be the Same' is the most NIN like track on offer here, all slowed down electronica tinged Goth menace, with growling malevolent guitars and a digitised edge to everything from the vocals to the bass. The chorus rages with sub Reznor frustration, and boasts a half memorabl
e tune, but the whole track sounds a little too much like an off cut from 'The Downward Spiral'. Whilst the track is far superior to its 'Title of Record' equivalent, 'Cancer', Patrick has already proven that he has his own voice and thus such four and a half inch nails moments should really be discouraged.

The closing maelstrom of 'I Like the World Today/ the IVth', meanwhile suggest the direction that Brian Liesegang would have liked Filter to have taken, has opposed to the more mainstream route chosen by Patrick following the ejection of his band mate. Full of curious background chanting, trippy drum patterns and ghostly vocals, the lyric circles insistently in a faintly unsettling way, repeating the title sentiment over and over again before qualifying with "But Sometimes its mean as hell" a sentiment he articulated far more eloquently on the earlier 'The Missing'. The track develops into a raging ball of industrial guitar and incoherent screams and whispers, before trailing away into 'The IVth', a curious American Indian tinged ghost vocal over a slightly Edge inspired feedback and doom laden piano chords, complete with synthetic washes of ambient noise. This curious dirge meanders along eight and a half minutes, and is one piece of Trent Reznor inspiration (lifted fairly clearly from the soundscapes created on NIN's 'The Fragile') we could have lived without. It's all fairly atmospheric, and the chanted vocal line, is no doubt a hat tip to Patrick's recently discovered Cherokee heritage, but it means the album goes out with something of a whimper, as opposed to the emotional kick of 'Title...'s killer closing duo of 'I'm Not the Only One / Miss Blue'.

'The Amalgamut' is a textbook example of how to follow up a successful album. Patrick successfully draws upon the heritage of his time in NIN and his Reznor inspired debut, combining with
the populist streak he suddenly exhibited on 'Title of Record'. 'The Amalgamut' neatly side steps between pop rock, hard-hitting metal and electronica tinged existential angst, whilst barely putting a foot wrong. On the evidence exhibited here, Patrick has developed into one America's foremost songwriters and this album raises Filter to the pantheon of truly great rock bands. The gentle politicking hinted at in the lyrics shows a more sure-footed approach to dealing with awkward subjects (George Michael take note), provoking subtle questioning rather then out and out distaste. Patrick manages the almost impossible, putting a message in the music without making his audience cringe. That he ties it all up with some superbly addictive music makes the achievement all the more impressive.

(This opinion was originally posted underneath my filter in general opinion whilst I awaited the addition of this category. Sincere apologuies to anyone who has read it twice and feels short changed.)

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