The album is basically 45 minutes of the classic Grinspoon sound (even Phil Jamieson, known in the USA for writing two Unwritten Law songs that received radio play, implements his raspy scream a bit on this album) along with stuff that was discovered in the later period post-New Detention. For example, in “Dogs”, Phil combines both the old sound with the new vocals while retaining the still-nonsensical-yet-worthy-of-Faulkner lyrics. That song, due to an early leak, made me think that it was going to be another “Black Tattoo” (lead single from Alibis and Other Lies); another good song found within the rubbish of forgettable pastiche. However, tracks following it, including the single “Comeback” and the deep cut “Tonight”, retain that sound; the mix between the old and the new. The album, with that mixture in place, makes it seem as if a war is happening in my headphones: a war between pop vocals and metal hooks without the shady transitions of Maximum The Hormone. It is definitely a far cry from “Minute by Minute”.

As many fans have stated, this album is basically that same sound for twelve tracks, which makes it a bit bland. However, that sound reminds me a bit of Easy, where every song had distortion and drop-D tuning. The fans were probably comparing the album to the “variety” found on Alibis And Other Lies, which was mediocre at best, and seeing that there wasn’t much of it to be found here. Well, fans who want to hear another “Minute by Minute”: you’re not going to discover it. You will discover another “Find Your Own Way” (“Give You More”, a very impressive alt-blues song reminiscent of Thrills’ “Enemy”) and another “Chemical Heart” (“Summer”, but without the depressing drug abuse undertones), but no catchy pop songs with memorable hooks. Instead, Pat Davern has concocted alt-metal songs with catchy hooks (“Premonitions”, “Dogs”, “Run”, “Tonight”) – he’s probably tired of all the pop music as I am. As for the lyrics, some songs are a little more blunt in nature (“Comeback” is basically about the pressures of fame and “Premonitions” is about what fame can do to one’s stress) while some are still on that line between silly and genius due to Phil’s writing style (“Dogs”, “Tonight”, “Summer”). They have not really changed a bit since 1997′s Guide to Better Living (and, to me, Phil’s best song lyrically was “Railrider” from that same album, itself a scathing view of religious hypocrisy in the modern era).

If I were to choose songs that I would want you to check out before downloading or purchasing the album, I would say that you would check out “Dogs”, “Comeback”, and “Summer”. Those songs, with Pat’s quality control and Phil’s pop-worthy vocals, are probably the catchiest Grinspoon songs I have heard since the New Detention era. There’s no doubt that I approve of this album. Even when I compare this to a benchmark album (i.e. Trout Mask Replica or The Chicago Transit Authority), it still makes high scores. Grinspoon not only have outdone themselves on their comeback; they did twice that and even kept traces of their experimental albums for those pop fans.