Falling In Reverse – ‘Coming Home’ (Album Review)
Falling In Reverse have always been a divisive but diverse band. Everything they release leads to a massive debate about which parts are good, and which parts are bad. Even after five or six years, a general consensus has not been reached.
Having already experimented with emo, metalcore, hip-hop, and electronica, Falling In Reverse continue to expand their comfort zone on Coming Home. The opening title track is a bar-setting start, bringing in parts of 30 Seconds To Mars, Muse, and Angels And Airwaves. Driven by dirty, heavy synths and absolutely going for it, it is fucking huge.
Broken is a second strong song in a similar vein, daring you to resist the urge to sing along. But the next four tracks are painfully immature. Loser, Fuck You And All Your Friends, I Hate Everyone and I’m Bad At Life feature some good guitar work, but that’s about it.
Fortunately, Falling In Reverse pick it up with the post-hardcore anthem Hanging On and the solid Superhero, which are much more grown up. Straight To Hell stands out from the metal-and-electronica pack thanks to a mental guitar solo – but second-to-last track I Don’t Mind is easily the best song on this album. Lyrically, it deals with Ronnie Radke’s rocky relationship with his mother, and for a song with so many synths, it’s raw as hell.
From there, there’s only one song left, and it’s called The Departure. To be honest, it’s really disappointing. There’s a funky upbeat intro, some creepy synths, an almost Linkin-Park-like chorus – but the whole thing feels like a generic mush.
Overall, Coming Home could’ve been the album where Falling In Reverse really grew up. Coming Home, Broken, Superhero and I Don’t Mind are steps in the right direction, but they’re not really enough.
70%
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