The Bottom Line Though my view is probably harsh, I just don't think the band had any chemistry. Nor did they have anything interesting to say (apparently). A painful, must-avoid album.
Full Review
Not quite willing to entirely give up on the Toadies, I bought their most recent album Hell Below/Stars Above. The album was used, cheap, and I thought “what the hell” knowing that the Texas band broke up soon after the release of this, their long awaited and critically bashed sophomore effort.
I’d hoped that the critics were mistaken. I’d hoped that the 2001 album had some deeply buried redeeming quality. But upon listening to Hell Below/Stars Above all hope faded and I was left with much the same sour taste that Rubberneck rewarded me years earlier. You would think that after six years on hiatus a band could cobble together something that would prove at least mildly entertaining. Instead of refining, improving or even putting a little extra effort into Hell Below/Stars Above the Toadies actually go with the element that I so disliked with Rubberneck.
The Toadies once again prove that they are above all other things indistinctly slushy post-grunge rock. They try to be something more convincing but in the end the band’s turn toward harder rock was unnatural and even worse—it is unentertaining. Wondering who the Toadies are? You probably are clueless when I mention the band’s name—but what about their only hit song?
See, back in the dark ages o’ music (aka the mid-1990’s) the Toadies had a massively popular rock single called Possom Kingdom. Because of the success of that song and the band’s incessant touring with more popular acts their debut album shot to the top of Heatseekers and even managed to nearly crack the top fifty on Billboard. But see, the album really wasn’t very good and as such had zero long-term appeal. I suppose that the quality of Hell Below/Stars Above shouldn’t come as any surprise.
I am shocked that it is this bad. Todd Lewis (vocals, guitar), Mark Reznicek (drums), Lisa Umbarger (bass), and replacement guitarist Darrell Herbert are anything but interesting on the twelve dire offerings on Hell Below/Stars Above. The jist of the album is that it is much too little too late. It was dated upon release and reeks of a bad Soundgarden cover band. Of course that doesn’t quite fit as the material is new (but not new sounding).
Hell Below/Stars Above begins on shaky ground with the disturbing rattling of Plane Crash. Now don’t get me wrong—I love rock n’ roll when it is properly done. This is not. This is just loud for loud’s sake. Plus, Lewis’s voice is high pitched and painful. The Toadies make another bid for a hit with Push The Hand. But like the first song it is an awfully unconvincing try. The track has no direction and the melody has no purpose. Not just that, but once again Lewis’s vocals are distracting—in a bad way.
Continuing on Hell Below/Stars Above never improves even so much as a bit. I’ve heard people refer to Little Sin as a standout track. It would be—except for the fact that Lewis tries vainly to be somebody else (specifically Chris Cornell). There’s no hook, there’s no lyrical interest generated, and there’s no particular impetus. Umbarger’s bass is also distracting drowning chunk-chunking out every bit of drive the song may actually possess. Basically, it sucks.
I want something to happen, but these three minute tracks never do a damn thing for me. I guess I’m pleased that it is real-ish rock n’ roll in an age of nu-metal but with that bit out of the way there’s nothing else of interest about this effort. As the album passes the midpoint and winds down it becomes increasingly aggravating. Motivation stinks of cliché crap. Lewis tries to add a little soul to the song with a gutsy vocal performance (probably the best of the album) but at the same time the melody is repetitive. I just can’t stand listening to him grunt You get your head around it in probable excess of one hundred times. It’s just overdone.
What We Have We Steal is an aptly titled track in that yet again the Toadies emulate Soundgarden at the peak of their careers. The mid-tempo rocker just goes in one ear and out the other. It’s like white noise—basically it does nothing to distinguish the band from other acts. Jigsaw Girl is a kind of bad 80’s hair metal ballad. I suspect it’s supposed to be quirky, but it doesn’t mesh with the rest of the album. Not that if it did I’d respect it any more. In any case, I’m bored. Yawn.
Hell Below/Stars Above finally wraps up with a trio of equally awful songs--Sweetness, Hell Below/Stars Above and Doll Skin. The album just leaves a wretched taste in my mouth and sends chills up and down my otherwise settled spine. The Toadies failed miserably here. Considering the hype that surrounded their six year hiatus and the anticipation many fans (not me mind you) felt it’s more a punishment than a gift. Skip it. And while you’re at it skip Rubberneck also.
Rating: 1/5 stars
Track Listing:
01. Plane Crash
02. Push the Hand
03. Little Sin
04. Motivational
05. Heel
06. You'll Come Down
07. Pressed Against the Sky
08. What We Have We Steal
09. Jigsaw Girl
10. Sweetness
11. Hell Below/Stars Above
12. Doll Skin
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