Monday 21 Apr

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0
Home · Articles · Music · Music · Wreck the halls

Wreck the halls

After a few too many power ballads, nu-metal’s Staind is ready to rock again, and hard.

Joshua Boydston December 7th, 2011

Staind with Aranda, Anti-Mortem and Violence To Vegas
7 p.m. Saturday
Diamond Ballroom

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.”

Photo by P.R. Brown

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