Published on Dec 21, 2004
When hard rock bands noticeably change their sound from one
album to another there will always be fans that are quick to
criticize the evolution of the new music. Rightfully so, it can be
argued, as some of the time this generally marks a sign that a band
has lost its way or never was on a track to begin with.
But what if for some strange reason, a fresh new sound and style
is uncovered? More importantly, what if the band has yet to break
from its “underground” status and reach the masses for true
judgment? Would it then really matter?
This is a debate for the ages and I won’t begin to even attempt
to offer suggestions of right or wrong. Truthfully, I’ve sided both
ways over the years depending on the artist but I’m here to say
that in the case of
High Visibility, the fourth full length studio album by
Sweden’s leading punk turned hard rock act, The Hellacopters, it is
easily their most slickly produced and accessible effort to date.
Building off of the album’s predecessor,
Grande Rock, this album is a showcase for the band’s new
guitarist Robert Dahlqvist. Nicknamed “Strings,” this blonde haired
axeman is given the opportunity to throw hook after hook at the
audience, building around the lyrics of frontman and rhythm
guitarist Nick Royale.
Also, conspicuously present are the backing organs and piano
work of Boba Fett. The result is a smoothly calculated and eclectic
arrangement of medleys tied in to an anthemic chorus of songs.
With the departure of former lead guitarist Dregen (who left to
give his full efforts to his band the Backyard Babies), the new
hard rock Hellacopters maintain their ability to keep their
songwriting approach “full throttle” in nature as they forge away
from their punk roots. The first track from the
High Visibility album, “Hopeless Case Of A Kid In Denial” is
lyrically tied to the all so common theme of teen angst and
rebellion and is a reflection of the in-your-face type song that is
associated with past Hellacopters efforts. The following tracks,
“Baby Borderline,” “Sometimes I Don’t Know” and “Toys and Flavors”
will bring any avid listener to the brink of personal embarrassment
as they attempt to hone their air guitar and vocal techniques.
On the flip side, I will say that after giving this disc several
spins, it is easy to marvel at the band’s ability to seemingly take
the same song and, in this case, record it thirteen different ways.
The songs are very good, mind you, it is just that this observation
is a likely reflection of the band’s rough edges being stripped
away during the album’s production in favor of the new tighter and
polished sound the band is going after.
While it’s refreshing that there is a band out there today that
remembers how to rock and play their instruments to capacity, it is
unfortunate that the sound is far from mainstream. In this world of
second rate rap-metal bands controlling the hard rock scene and
airwaves, an album like
High Visibility is truly a breath of fresh air for listeners
longing for sounds reminiscent of the Seventies era style of rock
and roll.