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You can change metadata of your movies, such as episode name, directors, actors, description, comment, etc. ![]() ![]() Are not known for their insight, but 's caterwauling claim that 'we got no class, no taste' on 'Burn It to the Ground,' the second song on their sixth album,, is a slice of perceptive, precise self-examination. Are a gnarled, vulgar band reveling in their ignorance of the very notion of taste, lacking either the smarts or savvy to wallow in bad taste so they just get ugly, knocking out knuckle-dragging riffs that seem rarefied in comparison to their thick, boneheaded words. Of the two, the music is far less offensive, particularly on, where they work with the legendary producer, the sonic architect behind and, two of hard rock's towering monuments. Decides to give a production caught somewhere between the two extremes of and, pumping up some muscle on 's heaviest rockers and adding some color to their power ballads, suggesting some heretofore verboten suggestions of modernity in the form of electronic rhythms, even taking it to the extreme of adding drum loops to the surefire crossover hit 'Gotta Be Somebody.' Do manage to shed their leathery rock skin a couple of times, first with an arena-rocking 'Burn It to the Ground' and then echoing 's 'Let's Talk About Us' on the white-boy rap pre-chorus for 'Something in Your Mouth,' but these are mere glimpses of something unpredictable; was constructed entirely from the group's standard templates of bleating power ballads and dulled hard rock. These two sounds have been the group's trademark for a while now, ever since started plumbing the depths of his shallow soul to spit out invective toward lovers and fathers on 2001's, but stardom has stripped away all lingering angst, leaving behind slow songs about love and fast songs about partying, all designed to woo women he'll later hate. Underneath the housewife-hooking power ballads -- 'I'd Come for You,' 'If Today Was Your Last Day' -- plus 'Just to Get High,' an ode to a fallen junkie friend that's part of the proud tradition that stretches back to at least 's 'The Winner Loses,' seethes with ugly misogyny, as trots out a parade of dirty little ladies in pretty pink thongs, porn stars, strippers, and sluts, all of whom are desired and despised for showing too much skin. May claim that 'S is for the simple need/E is for the ecstasy' in his middle-school chant 'S.E.X.,' but there is no joy in his carnality, just bleak veiled violence, and that nasty undercurrent undercuts his pleading lovesick ballads; he's either had his heart broken by those loose women, or he's singing to the good girl left at home while he's out on the town. This all turns into a murky, wearying listen, with the mood only lightening at the end of the record, when and company take a break from carousing to kick back with bros and a bong for 'This Afternoon' -- its strum-along choruses are a relief but so is its mellowness, as seems calmer, relaxed, even friendly. Maybe it's because there were no women in the picture.
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