Review Summary: Review 2 of 7: Stripping off the soothing melancholy image for a grittier Grunge look, Consent to Treatment is a album that will leave many sitting on the fence
It’s the turn of the century, after we all thankfully survived Y2K and the impending end of the world. The music world was ready for a new chapter in its life. As for Blue October, they were ready to step up their game as their new bassist and guitarist Matt Noveskey came along to teach this dog a few new tricks before it grew too old. Unlike the debut The Answers, Consent to Treatment tried something new, it was Blue October experimenting with Grunge fusion.
Consent to Treatment is unlike any other of the Blue October albums. While the others focus more on the atmosphere of the music to paint the stories each song tells, this one focuses more on the instrumental work. As the music is far heavier and distorted, calling back to the Grunge movement of the 90’s, even Justin takes a stab, as he balances the mumbles and yelling that many Grunge bands used throughout their careers.
One may also notice that Ryan Delahoussaye is almost completely absent from the album. Making appearances in only six of the fourteen tracks of the album. Which is a real shame, as these specific tracks always end up being the shining gems of the album. The fusion of grunge and violin is an odd combination that works the entire time. Quick paced and energetic, Ryan takes his skills a step up making the duet of somber and crazy with Matt Noveskey a great attribute to the album. “Balance Beam” being a fine example of this, it’s happy go lucky with harsh riffing and quick bright violin stringing, the chaos that both make blend together to greatly improve the track.
This may be the album’s biggest downside, as there aren’t many of the somber songs that made The Answers and the rest of their albums as good as they are. Though that doesn’t mean this album is bad, no, far from it. As many of the songs are still greatly and carefully constructed with the stripped down production that gives it a pure atmosphere. Or in this album’s case, the gritty edgy atmosphere it aims for, it hits it’s mark perfectly.
The album’s lyrics have greatly matured though, though the original’s lyrics lacked the depth to back it up. This album greatly delivers it as the songwriting has matured up, the analogies and metaphors being easy enough to click while maintaining it’s mature deep composure. “Retarded Disfigured Clown” the album’s opening, a poem written by Justin and “Schizophrenia” are strong examples of the lyrical advancements Justin has made since he started songwriting at thirteen.
The album also features a couple tracks from The Answer, completely stripping them from their original form and rebuilding them completely. “Breakfast After Ten” kicking a brand new coat of paint, mixing the albums grunge theme with southern contemporary. It’s definitely one of the albums highlights, and a great remake of it’s former self. As for “The Answer” it becomes a soothing acoustic, with a female backer to keep the tracks pace moving. Though good in it’s own self, it lacks the atmosphere the original had.
As for the rest of the tracks, the sit between good and average, as many of the riffs are usually shallow and could call for more creativity and Justin's grouchy vocal work could require some more work and attention. Besides the albums highlights and a couple others, most of the songs on here are easily skippable.
Consent to Treatment is far from being a bad album, though the Grunge persona the band puts up for this album might be unwelcoming for some people. Though it does have it’s share of enjoyable tracks the album as a whole just doesn’t hold a candle to their debut, or to their next album History for Sale.
Recommended Tracks:
Drop
Schizophrenia
Breakfast After Ten
Balance Beam
