For a short while Boston based rockers Extreme were huge. After a self-titled debut album in 1989 that hardly did anything commercially the band hit pay-dirt with their second album Pornograffitti (1990). The lead-off single “Decadence Dance” bombed but the second one, “Get The Funk Out” made some impact but what really sold the album was the monster-hit “More Than Words”, an acoustic, emotional ballad that really set the world on fire. 1990 and 1991 were Extreme’s years but when it was time for a follow-up Extreme refused to play it safe and release a Pornograffitti 2. Instead we got Three Sides To Every Story (1992), a mastodon project that was too little mainstream for the bigger crowds. It was a great album in my opinion and it didn’t bomb but it was a too many steps from establishing the band as a major act. Also, the musical climate was changing rapidly and Extreme’s music was no longer hip even though they weren’t alike most of the 80’s melodic Hard Rock bands at all.
Extreme gave it one more shot with less funky and way more 70’s smelling Classic Rock album, the criminally underrated Waiting For The Punchline but if Extreme was unhip in 1992 it was a walk in the park compared to 1995 when Grunge had taken over totally. By then drummer Paul Geary had left the band with Mike Mangini joining vocalist Gary Cherone, guitarist Nuno Bettencourt and bassist Pat Badger but by 1996 the band had split up. Mangini later joined Dream Theater, Cherone joined Van Halen and Bettencourt released a solo record. Smaller reunions has taken place in the 2000’s but in 2008 they decided to give it a go again, now with drummer Kevin Figueiredo and released the come-back album Suadades De Rock, a killer effort that brought on some success and Extreme proved themselves to still be a stellar live-act but with Bettencourt being Rihanna’s touring guitarist it has taken the band 15 years to come up with the goods once again.
Released as the first single, “Rise” is one groovy rocker – riff-happy and rough-edged with some parts containing distorted vocals. It’s powerful and explosive with a band firing on all cylinders. The vocal-melodies are intense and full of firepower in the verses whereas the chorus is direct and concise with a nice pop-hook that brings on the catchiness. Nuno’s solo here is phenomenal, delicious and firey. A brilliant opener. Third single “#Rebel” is heavy, raw and brings out more strike-hard riffage. It’s a mid-paced number that flirts with 70’s Classic Rock – stripped, earthy and organic built up on a heavy rhythm. It’s a good tune but the chorus never really takes off. I guess it could grow live though.
Second single “Banshee” is a melodic Hard Rock stomper that looks back on the late 80’s/early 90’s albeit with more bite and edge sonically. It’s a rhythmic affair with a chunky guitar-drive and a bouncy beat. The bluesier structure is mixed with some poppier moments melodically and especially the chorus holds a sharp pop-hook and an intense catchiness. Very good. Upbeat and driven by 12-string acoustic guitars, the single “Other Side Of The Rainbow” is a poppy rocker with a big summer-feel all over the track. It’s a feelgood number with über melodic melodies where one melody is catchier than the other. The chorus is masterful. This deserves to be a hit.
While Nuno has his acoustic guitars out he throws another acoustic tune or way, this time a more traditional ballad called “Small Town Beautiful” where Nuno and Gary duets vocally. No, it’s not a “More Than Words” rewrite, just to be clear. It’s a soulful, embracing and captivating number full of gorgeous melodies and a pop-laden chorus that feels like a warm silk-blanket on a cold night. Wonderful. “The Mask” opens with a chunky bass and drum rhythm-groove. It continues as a darker and stripped down rocker on a groovy stomp. The chorus is crunchy and hold some cool vocal-harmonies but it also feels somewhat unfinished. It’s good enough but not one of the better tracks on the album.
“Thicker Than Blood” takes a bit of a left-turn as it is an experimental tune with alternative flirts and a nod towards the mid 90’s where rough-edged industrial sounds, synth-wave influences and raucous distortion lives. It’s dark, heavy and aggressive yet with a stompy groove but even though there are melodic moments, this too feels rushed and unfinished and comes off as a bit lacklustre. Not bad but not convincing either. “Save Me” on the other hand is more direct and distinct even though it contains a brooding darkness and tuned-down guitars. It’s a robust tune with a slight grungy, Alice In Chains flirting touch but also melodic enough with some 80’s hooks involved and the chorus is concise and direct. Love the dynamic contrasts. Good one.
Latest single “Hurricane” is a gorgeous laid-back acoustic ballad where Cherone and Bettencourt split the vocals and you can’t help thinking about That Song when you hear it but that said it’s not a clone by any means. It’s a dramatic and emotional number that holds some majestic harmonies and smooth strings with captivating and affable melodies all over. Brilliant. Another big detour is “X Out”, a synth-laden number full of electronica and even a flirt with dub-step (almost) where the band experiments with static rhythms and an alternative twist but when the drums and bass comes in, a mighty groove is created and the addition of piano smoothen things out some. It’s a left-turn that might take a few spins to get into. I usually have a hard time with stuff like this but I actually like this a lot.
An acoustic guitar prominent Pop number, “Beautiful Girls” is a slick summer song and if I close my eyes while listening I can see the blue ocean and the palm-trees with the taste of a fruity cocktail on the beach. It’s an uplifting and positive number with a slight Van Halen vibe, a nod towards Queen and a Reggae influence. It’s very hooky and very catchy and very feelgood and I dig this very much. The album closes with the slower in pace, acoustic semi-ballad “Here’s To the Losers” that’s carried by a solid beat and holds some masterful vocal harmonies. It’s a nice blending of the Pornograffitti songs “Song For Love” and “Hole Hearted” albeit with an identity of its own. It’s uplifting and caring yet at the same time on the mellow side. A splendid number with a terrific chorus.
Whatever you think of Extreme an whatever you will think of their new album, no one can say that they played safe – because they did nothing close to that. Even though I can’t find any bad songs on here per se there are a few that really don’t hold water all the way and also, the acoustic numbers are at least a couple too many – even though I really like all of them. The album might take a while to get into but when it does there are lots to be enjoyed on it. It’s safe to say that Extreme takes their own musical path and has made this record for themselves because there’s really no crowd-flirting here at all. My first spin was “meh” but after a few more I got the record and now I find it very charming and a band that has developed and that listens to no one but themselves. Hats off.
7/10
Tracklist:
1. Rise
2. #Rebel
3. Banshee
4. Other Side Of The Rainbow
5. Small Town Beautiful
6. The Mask
7. Thicker Than Blood
8. Save Me
9. Hurricane
10. X Out
11. Beautiful Girls
12. Here’s To The Losers
CD & Festival reviews 