Review Summary: While featuring less variation than the band's previous efforts, A Perfect Circle manages to release another emotionally effective album worthy of your attention.
After more than 13 long years of patiently waiting, rock supergroup A Perfect Circle has returned to the scene with an alluring and mystifying new album. The group entered a hiatus back in 2004 after releasing eMOTIVe, an album comprised mostly of covers which was met with mixed reception from fans and critics alike. When the band made their return in 2010, fans worldwide were eager to know if and when we might be blessed with a new full-length album. That appetite was somewhat stifled with the release of their 2013 stand-alone single "By and Down," but ultimately left fans anxious for more.
APC has never been a band to repeat themselves, and those hoping for heavier compositions akin to Mer de Noms may be somewhat let down. Billy Howerdel, the mastermind responsible for the vast majority of A Perfect Circle's music, had stated prior to the release that he approached this album from a new perspective. Rather than writing songs centered around the guitar, much of the music was composed on keyboards. For that reason alone, listening to this album may require some patience and, most importantly, an open mind. Beginning with mellow piano chords and softly played drums, the title track "Eat the Elephant" lays the foundation for what the listeners can anticipate - a collection of songs focused on creating ambient soundscapes and emotive atmospheres.
"TalkTalk" and "The Doomed" are arguably the most familiar sounding songs on the album. The latter is one of the heavier songs, featuring a simple yet driving verse and a climatically built chorus, while the former consists of a heavy chorus weaved in with verses that are mellow yet dark. Songs such as "The Contrarian" and "Feathers" continue in the same general spirit of the title track, while "So Long, and Thanks for All the Fish" and "Get the Lead Out" explore territory previously uncharted by the band. There are moments in the album that are not unlike the signature sound APC has created in the past, yet they continue to offer new sounds that stand out from previous efforts.
Maynard James Keenan, the illustrious front man also known for his work with Tool and Puscifer, enters the arena with his signature foreboding vocal style and auspicious lyrics; his voice aged like fine wine. As usual, he offers insightful lyrics criticizing modern society, hypocritical dogma, over-dependence on technology, and our shaky political grounds, but does so in a manner that isn't tiresome or repetitive. However, there are moments when his lyrics can seem too upfront and direct (e.g. Disillusioned), lacking the characteristic mystique that we've come to associate him with throughout his career.
As a whole, the album seems like a genuine contribution to the APC discography as a thoughtful display of innovative artistic pursuits rather than a cheap cash grab. While the songs might not have the level of variation that made Thirteenth Step and Mer de Noms so special, they are still different enough from one another to offer a varied array of compositions for the listener. The album has certainly grown more interesting for me with each listen, so I will be pleased to see what the band has to offer should we receive another full-length album in the future.
