I don't know much in terms of background info on Southern California rockers Trapt. Back when Headstrong was being played every other song on rock radio, I couldn't stand them and just wanted them to go away. I don't know if I've ever heard a band sound more contrived, more faux angry than I heard Trapt on Headstrong. Talk about processed anger, the song felt like it should've been a lot more raging, a lot louder, and a lot more aggressive. I just patiently waited for Trapt to go away, having made up my mind that they were going to be one hit wonders. And then I heard Still Frame...but I'll get to that in a bit.

As I've said before, sometimes a generic rock album isn't such a bad thing; if the hooks are there, if the production is there, and if the band makes the songs just engaging enough, a generic rock album can be good for quite a few spins. The problem with the generic rock genre is that it has given us bands like Nickelback and 3 Doors Down over the past few years. Quite simply put, those bands suck more d*ck than a $5 hooker.

Trapt's self titled major label debut is certainly such a case of the decent generic rock album. What sets them apart is the voice of Chris Brown, and the hooks that permeate just about the entire album. Some might be surprised that I mention Brown's voice, as he doesn't have a ton of range, but his voice fits many of these songs to a T. The aforementioned hooks are what drew me in to giving this band a chance, and the aforementioned Still Frame was what really drew me in.

I guess the funny thing about me liking Still Frame is that had I known before it came on the radio that it was Trapt, I probably would've immediately changed the station. But I turned the song on just as it was hitting its first rousing chorus ("Believe me, I'm just as lost as you"), and well, that was it, I loved the damn song. Funny how a catchy as hell chorus can do that, huh? The song is a solid look at turning older, and it baffles me that the song never really took off at rock radio, not to mention top 40. Hell, in my eyes, it's as commercially appealing as Headstrong was decidedly NOT commercially appealing (goes to show what I know, eh?).

Most of the really solid hooks are in the first 2/3 of the disc. These Walls reminds me of Lifehouse's Hanging By A Moment, with the melodic verses and the driving, anthemic choruses. But the lyrics are driven more by a personal quest rather than a spiritual one, and they're delivered with quite a bit of passion. Current modern rock staple Echo is a decent power ballad, that while very very generic, manages to draw the listener in thanks to the effective delivery of Brown.

When All Is Said and Done has a nice stuttering guitar riff, although the song falters under its own weight. In some ways, it's a harbinger of the last third of the record: it starts off promisingly enough, but the hook isn't as strong as the hooks on the first parts of the disc. The best song over the last third is the melodic Stories, while New Beginning tries extra hard to bring an intensity boost, but it too falters under its own weight.

I don't know if Trapt were at one point a much heavier band, but it seems that at times they are struggling with the very much streamlined production on this record. While the production itself is a positive, I wonder if it took some of the starch from some of these songs. And so the question becomes: is Trapt trapped in a box? Will they move toward a heavier, somewhat less streamlined sound on their next record (given the top ten success of Headstrong)? Or will they continue to write solid hooks and maybe develop into their own band and their own sound, rather than sounding a bit too overly generic? These are the questions raised by this release. The answers won't be known for a little while.

All that being said, there should be enough on here to please rock fans, but don't say I didn't warn you about the disc's faults. This isn't Tool, but maybe a more apt comparison would be a less overall solid Sixteen Stone for the current generation.


Recommended: Yes