Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.
The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Staind with Aranda, Anti-Mortem and Violence To Vegas 7 p.m. Saturday Diamond Ballroom 8001 S. EASTERN diamondballroom.net 677-9169 $29 ADVANCE, $34 DOOR
Few bands enjoy the level of versatility hard-rock vets Staind do. “Roundness is helpful in all aspects of life, I think,” front man Aaron Lewis said. “We could definitely play a game of ‘you throw out the style, and we write a song to fit that.’”
Trouble brewed, however, as that game increasingly disregarded the heavy hooks that made the act famous. As the band whose cover art once offended none other than Limp Bizkit’s Fred Durst, Staind progressively strayed further from its nu-metal roots and into power-ballad territory with “It’s Been Awhile,” “So Far Away” and “Right Here.” It reached a head with their sixth album, 2008’s “The Illusion of Progress,” where hardly a single metal riff can be found among its 13 songs.
“I’m not saying that I’m not incredibly proud of that record, because it was the most outside-of-the-box thing we’d done up to that point, but it took us so far from where we began,” Lewis said. “I felt it was time to return to our roots. Bringing it back to heavy and aggressive.”
As a result, Staind’s latest, a self-titled effort that hit shelves in September, is its heaviest in more than a decade. Lewis taking a swing at solo country music — his first EP, “Town Line,” released this year to chart-topping sales — played a part in promoting that return as well. “It was my own stuff, over the years, that blurred the line of whether Staind was a heavy band or not,” he said. “With those songs having their own place to live now, we can go back to writing songs as a band and having them come out much heavier than anything I was bringing to the table.”
If the guys forgot what it was like to be angry, the recording process for “Staind” reminded them, likely fueling those monstrous rhythms and roaring guitars.
“Every possible thing got thrown in the way. From losing our drummer to my solo record, to me being on tour supporting that material and the deadline put upon us, everything went right down to the wire,” he said. “It was as jacked-up a situation as possible.”
But the band survived, and likely will, with priorities in line.
“We’re professionals,” Lewis said.
“If a personal level was where we were at in our decision-making, nothing would ever get done.”