It would be tempting to scour
No. 4
,
Scott Weiland
's reunion with
Stone Temple Pilots
, for insights into his troubles, yet the group consciously avoids this throughout the album. That's for the best, since it's their hardest effort since their debut,
Core
.
"Down"
and
"Heaven & Hot Rods"
provide a powerful, brutal opening for
-- it's as if
STP
decided to compete directly with the new generation of
alt-metal
bands who prize aggression over hooks or riffs. With these two songs, the band's attack is as vicious as that of the new generation, but they retain their gift for gargantuan hooks. Much of the album hits pretty hard -- most explicitly on
"No Way Out,"
"Sex & Violence,"
"MC5,"
-- and even the
ballads
and neo-psychedelic
pop
have none of the swirling production that distinguished
Tiny Music
. That sense of adventure is missed, because even if the album finds
returning to the muscular
hard rock
that made them, they always sounded better when they concentrated on melodicism.
's most effective moments have a variety of sonic textures and color --
"Pruno"
tempers its giant riffs with spacy verses;
"Church on Tuesday"
is a great
tune, as are the trippy
"Sour Girl"
"I Got You"
; and the psychedelic
"Glide"
and closing
ballad
"Atlanta,"
have a sense of majesty. These songs anchor the heavier moments, instead of the other way around, and it all plays well together. As a matter of fact,
is as tight as
. Even if it isn't as grandiose or sonically compelling as that effort, it's a record that consolidates all their strengths. ~ Stephen Thomas Erlewine