Review Summary: While it’s an enjoyable release, you can tell by listening that it’s the beginning of the end.
It’s interesting to see how the band experiments between their first album and their most recent. Linkin Park is a prime example, and while The Hunting Party sounded more similar to Hybrid Theory and Meteora, albums in between went in different directions. Enter Manic Drive. On their first album, they had a strong, heavy rock/nu-metal sound. On their most recent, they were ripping off Michael Tait-era Newsboys. How did the records in between sound? Let’s take a look at their sophomore album, Reset and Rewind, and find out.
While the album doesn’t have the Dubstep/dancepop influences of more recent Manic Drive albums, you can see the metamorphosis starting. There’s no full on alt-metal moments like in Luckiest from the previous album. Vocalist Shawn has, for the greater part, changed his style. He goes for a much smoother delivery on this album, rarely going back to his grittier method. Co-founding member and guitarist Mike has also changed his style, and though he still plays punchy riffs, the tone isn’t quite as edgy or gritty as before. One thing is for sure: though the band is going more melodic with a more alt-rock styled record, they are still driven by Mike and Shawn.
But, don’t take their more melodic approach as faulty :( for the most part) this is an acceptable album with a great deal of standouts. Though it’s pretty shabby lyrically, NYC Gangsters has an astonishing vocal performance, considerable energy, and some delightful riffing. Eleven Regrets has some suberb, emotional lyrics, a permissible blend of pop rock and alt-rock, and another superb vocal performance. Blue has an alluring danceable beat to it, with some strong drumming, but it still retains its alt-rock feel. Obvious is the heaviest track of the album, bringing back the infectious screams and high-energy of the first album. December Morning is a great, Latin-tinged ballad with enjoyable acoustic and electric guitar riffs. Final standout Addiction also brings back the screaming, making it the second-heaviest song on the album.
Indeed, there are some great elements to Reset and Rewind. Though his rough edge is mostly absent from the album, Shawn does sound good with his smoother voice, even though the rough edge is missed greatly. Mike proves he can play more than just hard rock riffs, and varies his style some, though his rock riffs are still present. And, the band as a whole proves versatility: they can play more than hard rock, and, for the most part, it’s acceptable and enjoyable. However, for fairly every standout track, there’s a filler track. The bassist and the drummer still don’t experiment a whole lot, and there are times when the newfound melodic element doesn’t work, and comes off as campy (Dancefloor, L-O-V-E). Though it wasn’t incredible, Reason for Motion had a certain something in it that just made it something else, and Reset lacks that.
Lyrically, Shawn still primarily has delivery nailed. The somber lyrics about regret on Eleven Regrets are passionate and get to you, and Shawn delivers them just right. Lyrically, NYC Gangsters is campy, but the lyrics are still somewhat clever. Addiction and Obvious hit on more serious topics successfully. However, Dancefloor comes off as forced, as well as L.O.V.E. and others.
Manic, you almost had it. This could’ve been up to par with Reason for Motion. And while it’s an enjoyable release, you can tell by listening that it’s the beginning of the end. This is the last permissible record that the band released, though, so if you are trying to delve into Manic, do buy both Reason and Reset. However, if you aren’t a Manic Drive fan, and have no interest in them, don’t bother.
