Review Summary: Filters regeneration picks up pace
Richard Patrick is an interesting character. Filter were formed after Patrick left Nine Inch Nails in 1993 and its fair to say that they have always been walking in Nine Inch Nails shadow for the majority of their career. After the huge success of the 'Title of Record' album and hit single 'Take a Picture', for one reason or another Filter never really catapulted themselves further into the mainstream as it seemed capable of at the time. This is possibly due to Patrick's rather public problem with alcohol which culminated in a stint in rehab in 2002 after cutting 'The Amalgamut' tour short with constant problems. Patrick was notoriously a difficult person to not only work with but to interview and Filter have always had a revolving door aspect to their line ups. So it was no surprise really that after rehab, Filter were put on hiatus and Patrick went off to take part in supergroup 'Army of Anyone'. Filter somewhat underwhelmingly reared their head again with the anti-war/soldier support album 'Anthems for the Damned' and since then have toured and recorded in relatively normal cycles. 2010's 'The Trouble with Angels' was a welcome return to form for many fans and it seems like that Patrick has put his demons behind him and now comes across like a more mellow and focused musician.
The 2013 Filter seems like more of a partnership between Patrick and guitarist Johnny Radtke instead of the more solo affair of 'Anthems for the Damned' and 'The Trouble with Angels'. This reflects well on 'The Sun Comes Out Tonight', the whole album seems a more together affair than before. Although decent albums, the two previous efforts always seemed like slightly schizophrenic albums and a bit disjointed. Opener 'We Hate it When You Get What You Want' is reminiscent of early days Filter and would sit nicely next to classic 'Welcome to the Fold' with its industrial rhythm and Patrick's distinct vocals taking centre stage. Patrick wasn't shy in admitting he was aiming for 'Short Bus' mark 2 when promoting this album and the first couple of songs certainly tow that line. I suppose the first eye opener comes in the form of the third song 'Surprise' (I'm desperately trying to avoid a surprise joke in here). Filter have always toyed with the line between industrial rock and gentle radio friendly balladry, their most famous song 'Take a Picture' is streets away from the more angst ridden tracks that Filter are capable of, but it seems strange to place 'Surprise' at the top of the running order on this album. Although not a bad song at all, a gentle acoustic guitar accompanies Patrick's excellent vocals over a rhythmic bass line, it just seems very out of place at the top of the album.
From then on the album really picks up pace though and is littered with some of the more heavier tracks Filter have offered since their reformation. Songs like 'Its Got to Be Right Now' are pacey and rhythmic and showcase exactly what Filter should be all about. Patrick's song writing on this album is as good as it has been since 'The Amalgamut', tracks like 'This Fingers for You' are straight to the point without sounding like Fred Durst, Patrick makes it obvious what he's singing about but his lyrics come across as honest and never childish. 'Self Inflicted' is probably the most angst driven Filter have sounded for years and is a real high point of the album. 'Burn It' is an anthemic number with its chorus chant and relentless dance beat and would fit easily onto earlier album 'The Amalgamut'. Like all Filter albums the end tracks are Patrick penned ballads but work rather well, 'It's My Time' is probably the most obvious departure from the norm, a piano ballad which showcases how far Patrick's vocals have come since the early days, this album is easily Patrick's best recorded vocals since the start of Filter. Like all Filter ballads, some fans will hate it and some will love it, I stand firmly in the love it category, especially on this album I think the heavier moments enhance the more lighter moments.
It's not a perfect album and many will argue that it sounds over produced and glossy, at times I agree, the opening to the song 'The Sun Comes Out Tonight' grates on me every time. But to me it sounds like the perfect follow up to 'The Amalgamut' which is kind of what Patrick was going for. It is certainly the best album since the reformation of the band in 2008 and hints at greater things to come from the Patrick/Radtke collaboration.
