The metal genre is one that is hard to define and one to really get into. Often outed as part of those “weirdo” genres alongside emo and electronica, metal appeals to a crowd smaller than the usual titans, pop, R&B, etc. Underride, an up-and-coming band, brings forth value and promise to metalheads across landscapes with their album ‘Distorted Nation,’ an edgy stainless-steel debut that uses the power of emotional, hard rock and camouflage powerful and sensitive lyricism in between captivating solos.
The number three track, “Blinded by You,” is a ballad on acid. Not bad at all. Underride uses a quick, hypnotic intro to lure the listener in and as the song starts, has gotten you all tangled up. With lyrics that rival that of an R&B or pop song, the group lays into your ear with a vent of pain and expresses confusion and regret through a fast progression. The song delivers precision and strums your heartstrings while offering cutthroat, teeth-grinding edge.
The fourth track, “Love is Like Dying,” is another deeply sensitive track driven by a raw, loud tempo. Beautiful and bittersweet, it is a very relatable track that ties its lovelost message into the strong melancholic sound. The lyrics are again hurled at the listener with typical metal strain as Underride takes you on tour of sorrow, going through twists and turns until you’re completely immersed in the sound, in the feel of the song. This track is destined to be a hit.
A quick jump to the number eleven track, “Road to Nowhere” and you find that Underride isn’t all gushy love. On this track Underride stresses the need for spontaneity as the lyrics call for a ride to, well, nowhere, as a call to freedom and the unexpected, living without consequence. The electric guitar really upholds the entire song and supports good percussion skill. Both elements give the song a great kick and lend to the lyrics as well, making this song the most adventurous and less romantic, unless one is in live with the idea of running off to enjoy unhinged, careless fun.
The best was saved for last on the second track, which is probably the best cover of a song since Cascada covered Rascal Flatts’ country heart strummer “What Hurts the Most.” Underride proves they are different by covering Lady Gaga’s “Paparazzi.” Papa-paparazzi. And it sounds amazing; it makes you think that the original should have been a metal hit all along. The group cleverly stalls with a nice intro, but the real conflict doesn’t start until the first verse begins. By that time, you’re already into the song. As you hear Gaga’s lyrics through a snarl, you contemplate on whether to continue listening or stay a Gaga fan and listen to her version.
If you choose to listen, you’re in for a shock, as this cover is an incredibly creative crossover, and turned out splendid. Everything, including the chorus is amplified greatly and naturally while still preserving the nature and original theme of the song.
Underride is good. They sound like Korn (before Korn went mainstream), they are as sensitive as the Christian rock group Red, and they have songwriting strength to match that of Skyler Grey, another up and coming musician/instrumentalist. They should, however, adopt another sound although hiding behind a genre founded on anger and machismo, while using [great] boy band lyrics to add a sensitive touch seems to be their edge.
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