Review Summary: The cover art sucks and the artist's reputation is polarizing, but go into this with an unbiased perspective and you will leave entertained.
There exists not a figure more polarizing under the “Alternative Music Scene” umbrella than one Mr. Ronnie Radke, frontman of the post-hardcore outfit, Falling in Reverse. His charismatic, over-the-top, and sometimes [ridiculously] cocky personality has earned him nearly as many “haters” as it has fans. That’s not to mention the seemingly oft occurring controversies involving him and his antics, whether it be on stage or in the media (see the flying mic stand or tasteless 9/11 jokes), which do not bode well for his reputation. It is for those several reasons that Falling in Reverse’s third album,
Just Like You, will most likely be immediately written off by many as a “terrible album made by an even worse band,” whether those critics have heard it or not (or perhaps because it’s their third consecutive album with horrible artwork). This, simply, is a mistake.
Radke rose to fame as the vocalist of Escape the Fate, masterminding their post-hardcore staples
There’s No Sympathy for the Dead – EP and, their debut album,
Dying is Your Latest Fashion. After a prison sentence and being replaced in his former band, Falling in Reverse was founded. A triumphant return in
The Drug in Me is You was followed by a puzzling sophomore effort in
Fashionably Late. The latter, criticized (and rightfully so) for its lack of cohesiveness, fused elements of rap, EDM, Top 40 pop and even country into the band’s sound, producing an awkward 14-track trip full of chaos and confusion. Thus, the masses were pleased upon the announcement that the third Falling in Reverse album was considered a sequel to Radke’s widely praised full-length debut,
Dying is Your Latest Fashion. The eventual final product, however, is not as initially advertised.
Initial hype for
Just Like You was generated by the two lead singles for the album, “God If You Are Above…” and “The Guillotine IV” (parts I-III can be found on previous Escape the Fate releases), as both sound exactly as promised: post-hardcore bangers that appear to be tried and true descendants of tracks on
Dying is Your Latest Fashion. While several other tracks produce this same feeling, the album as a whole cannot be considered a proper sequel.
Opening the album on a very positive note, “Chemical Prisoner” is one of those songs. Kicking off with a catchy albeit simple riff, the song immediately highlights an improvement over their past album despite an annoying layer of distortion under the chorus. Followed by the aforementioned “God If You Are Above,” the initial impression created by Radke, longtime producer Elvis Baskette, and the band provides a sense of nostalgia, clearly harkening back to classic Ronnie tracks such as “There’s No Sympathy for the Dead” and “Dragging Dead Bodies.”
Metalcore infused songs such as “The Guillotine IV,” “Die For You,” and “The Bitter End” hit hard and legitimately showcase a [very] respectable heavy side of the band, while also spotlighting talented guitarist Jacky Vincent, who provides flashy solos within twelve of the album’s fourteen tracks. He is a gifted shredder (see his solo shred album) and is extremely technically skilled, yet seems to be slightly lacking in the ability to compose intricate lead melodies from song to song. It is also worth noting the band’s ability to execute the pit-inducing yet generic metalcore breakdown better than most (I’m looking at you, Asking Alexandria). The heavy tracks also, however, draw attention to Radke’s weakest attribute: unclean vocals. While his uniquely anthemic clean vocals have consistently improved over the years (one could argue there is much less whine), there is no denying his vocal deterioration throughout the harsher sections of the album’s heavier tracks. It can take a bit of getting used to, but eventually does not hinder the brilliance of these songs.
Interspersed between the several excellent post-hardcore/metalcore tracks are a handful of songs that stray from the cohesive potential of this being follow up to
Dying is Your Latest Fashion. Ultimately, some may be considered low points on the record, seemingly failing to add anything to the sonic successes mentioned above. “Sexy Drug” is the first of these, throwing cringe-worthy lyrics and pop melodies over a few average guitar riffs. The title track “Just Like You” is a brutally (and comically) honest power-pop tune that would have fit better on
Fashionably Late.Despite this, it showcases Ronnie’s uncanny ability to add an infectiously catchy hook to any style of song in the band’s discography. “My Heart’s to Blame” features a synth laden melody and is a definite album highlight, with the potential for being a radio rock (or even crossover) smash. While also catchy, “Wait and See” is exactly what most post-hardcore fans did not want from this album: Ronnie rapping. While he is definitely skilled in writing a decent rap songs (see his solo tracks “Fair Weather Fans,” “Blacklist” and even his blistering albeit out of place verse on “Rolling Stone” from
Fashionably Late), the Hollywood Undead-esque hip-hop verses on “Wait and See” fall flat. Ironically, the song features one of the better solos by Vincent and does not lack in the cheesy breakdown department. Lyrically, it approaches issues within today’s society, which awkwardly strays from the personal lyrics heard within the rest of the album. It is, however, far and away better than “Alone,” the infamous worst-track-of-2013 nominee from
Fashionably Late. “Get Me Out” and “Brother” are the other two tracks that seem to break the post-hardcore flow of the album. The former is a cocky and tacky pop-punk scene anthem, while the latter is a genuinely heartfelt piano ballad about the death of Radke’s brother. While a seemingly unfit closing to the standard edition of the album, “Brother” deserves positive recognition for its raw, authentic emotion.
Love him or hate him, there is no denying the songwriting abilities of Ronnie Radke.
Just Like You is chock full of catchy choruses and infectious melodies alongside above-average riffs and tremendous guitar solos. Despite being an extremely fun listen, the record ultimately cannot be considered a direct sequel to
Dying is Your Latest Fashion .It lacks the certain randomness and imagery created in songs like “The Guillotine,” “Reverse this Curse,” and “Not Good Enough for Truth in Cliché,” instead offering [sometimes overly] personal lyrical content. Thus, listeners cannot find the same relatability within song meaning, a highlight of Radke’s debut.
Just Like You, however, is not the chaotic disappointment that was
Fashionably Late and instead becomes a seemingly poppier equal to their stellar debut,
The Drug in Me is You. It is hard to believe any fan of rock/radio metal music would not enjoy this album, prior knowledge of the polarizing Radke or not. While not an instant classic, this is another solid addition to Ronnie Radke’s discography and re-focuses the bands direction in a more positive trajectory than ever before.
