Review Summary: An unbridled glance into the inner workings of a living controversy
Blood on the Dance Floor had all eyes of the world on them at the time of this release. Fresh off the scorching heels of CNN and other major news outlets calling them out by name during a school shooting controversy, and the (at the time) recent fiscal success of their last album ‘Evolution’, the band had a lot to prove, and a lot more assets to do so with. In an unexpected flip of the tonal coin, the eclectic duo decided to simmer down the sex-crazed lyricism of the past, and beat their musical theme to an overall more cohesive set of drums. ‘Bad Blood’ is an ambitious yet tonally subdued album, awash with infectious hooks, solid production, and a hefty amount of surprising religious allegory.
The base composition of most of the songs on this album are reliant on four key factors; layered vocal harmonies, varied assortments of buzz-saw electronic wobbles, odd but refreshing songwriting detours, and aggressive lyrical content. This album has the duo sounding at their absolute best; and while Dahvie Vanity may still need studio magic to compensate for his singing voice, Jayy Von Monroe projects his heart out, elevating every track to a new level. Tracks like “Redeemer” that are reliant on mostly singing benefit wonderfully from Jayy’s pleasing, and at times infectious vocal tone. The rapping has also taken a step up, as both vocalists have a notably more proficient control of their flow, timing, and breathing patterns; this is especially notable in album highlight “Unchained” where the energy given off during the rapping in the verses is undeniably contagious. The harsh vocals are used occasionally on tracks such as “Bohemyth”, and luckily are used for more tastefully than before. There’s also been a drastic lowering of the spoken word rabble-rousing that dragged down their previous album, and the lack of said cheesy passages is not even remotely missed.
While previous releases all revolved around crass sexual gimmicks and all the pseudo-creative ways to talk about how they would go about said carnal adventures, ‘Bad Blood’ overall tones it down to a lower dosage. While there are still some sexual themes littered throughout certain tracks (see Dahvie’s opening verse on “Unchained”), the album more often relies on oddly fitting religious imagery that can be unexpectedly poignant, especially for a band whose entire career was almost entirely carved off of vapid, surface level lyricism.
” But praying isn't helping our country get any better
Serving the lives of our loves on a silver platter
Sitting back, feed the beast; watch the beast get fatter”
”Bohemyth”
” When they close my coffin and I'm holding hands with death
Just remember all I sacrificed, here's my final breath.”
”Crucified By Your Lies”
At times the lyrical approach taken can border on being utterly insensitive due to Dahvie’s direct to the point writing style, but the points come through loud and clear. When they’re not delving into religious topics, the duo are projecting themes of self-empowerment, taking on ‘haterz’, and the trials of love and subsequent ending of said love. It’s oddly passionate, at times immature, but a fair bit of a thrill ride.
Sonically, this album is the band’s best produced effort to date. The variety of well blended plucks, well timed lyrically appropriate samples, catchy to the floor beat compositions, and the array of piano and string based accompaniments make for an overall engaging experience that doesn’t falter in any major places. It’s also not the utilization of these features alone that makes it sound as good as it does, but it’s the way they’re brought about in the songwriting. From the unexpected viola solo in the bridge of “Bohemyth” leading into the final chorus with subdued dueling guitars, to the speedcore influenced ending of the title track, the leap in songwriting quality and variety is most definitely noted. But as with every experimental leap, you need a familiar backbone to fall upon; this is what the previously mentioned wobbles, and vocal harmonies accomplish. Unlike previous efforts by the band where the synth took dominance next to the vocals, this time any electronic work is mostly used as a metaphorical “concrete foundation” for the other unique features to latch onto.
Overall this is the highest point that Blood on the Dance Floor as a band ever reached. While some annoying setbacks such as Dahvie’s vocal performance and some immature lyricism hold this effort back from being an excellent album, it’s still packed full of memorable sections, and bountiful amounts of pure fun and revelry. As the band didn’t continue to pursue this direction in their future music from this point before their split, this will arguably be the band’s best discography representation.
