Class of 2008: The Year of The Comeback Part I

It’s that time of the year again when we start to make retrospective lists on the year that was—best books, worst films, outstanding citizens and all that subjective jazz. The last twelve months has seen a number of bands put out new albums and while this list doesn’t aim to rate the top 20 or something as ridiculously subjective as that, it looks at comebacks. 2008 has had many bands dust the cobwebs off their creativity and release that ever so difficult ‘comeback album’. Now the comeback album, closely followed by the sophomore record, is probably one of the hardest things to create as a musician. You’re always going to have to live up to previous expectations, provide the same diplomatic explanation when asked for the millionth time why your line-up changed or try to seamlessly glide back into the public conscious. This two-part article looks at four comebacks that really worked, four that bombed and two special ones on whom the jury will forever be out.

Oh and I’d like to add that my yardstick for measuring a comeback album was if it was released after a three year break (tough luck, Akon). So here goes:

My Four Albums that really worked (in no particular order)

Messhuggah (Obzen): After the 47-minute song they called ‘Catch33’, we thought the barriers of everything technical had just been re-arranged. But earlier this year, they released Obzen, which after a listen or two, could re-arrange body organs with insane time signatures and down-tuned riffs. For anyone who has been a fan of their previous albums, especially ‘Nothing’ and ‘Destroy. Improve. Erase’, this album does not disappoint. The first single from Obzen, ‘Bleed’, loops a strongly thrash/death riff over the brutality that is Jens Kidman’s vocals. From the title track to the complexity of ‘Electric Red’, this band proves that the word ‘fatigue’ can just never be associated with their music.

Cavalera Conspiracy (Inflikted): Finally, the brothers are back where they belong—on the same band! And if they didn’t think that was a big enough treat for their masses of fans, the line-up for Cavalera Conspiracy coughed up a few more surprises. Joe Duplantier (Gojira), Marc Rizzo (Soulfly) and Rex Brown (ex-Pantera) all join the Cavalera brothers on this mammoth record. Why, the familial connections on this album extend further to the next generation of Cavaleras. Ritchie Cavalera, Max’s stepson, features on the track ‘Dark Ark’ and a 12-year old, pint-sized Igor Jr. can be seen playing drums on ‘Troops of Doom’ during their American tour. The songs from the album are a return to the old Sepultura indigenous thrash sound—especially ‘Terrorize’ and ‘Hearts of Darkness’.

Slipknot (All Hope is Gone): After putting out Vol.3, Slipknot went into a period of dormancy with its members focusing on side projects. But it was totally worth the wait as Slipknot’s latest release is the perfect blend of their heavier sound and an acoustic side. Musically, there’s a range from the impressive riffing and twin solos by Mick Thompson and Jim Root on ‘Gematria’ to the mellow ‘Snuff’, which is reminiscent of ‘Circle’ from Vol. 3. Lyrically, Corey Taylor hasn’t abandoned his longstanding tirade against organized religion and politics. As an album, All Hope is Gone has enough trademark Slipknot to keep their ‘maggots’ entertained.

Radiohead (In Rainbows): Much like the latest Nine Inch Nails record, this album got a lot of attention for completely different reasons—the band put up the album for free and fans could choose to pay if they wanted. However, none of the debates created by this move take anything away from the content of the album. As eclectic as it gets, In Rainbows has really delivered and held its own against comparisons with its predecessors. Melancholic pianos and that stripped-down acoustic sound feature strongly on this album. It must be added though that Radiohead draw greatly from its own past records, imbibing the chill out/electronica influences that the band is pretty vocal about. In Rainbows establishes them as one of the most prominent acts within the avant-garde music scene. Songs like ‘Weird Fishes’, ‘Body Snatchers’ and ‘Nude’ demonstrate just how well this band can play around with sound and craft it to perfection.