I first caught Pop Evil at the Rocklahoma Festival in 2011 and quickly checked out the back catalogue – 2008’s ‘Lipstick on the Mirror’, and follow-up, ‘War of Angels’ which really brought global attention. 2013’s ‘Onyx’ was even bigger but marred by the tragedy of frontman Leigh Kakaty losing his father.
‘What Remains’ is Pop Evil’s 8th record and if you’re a fan it’s just what you’d hope for a faultless collection of “arena-ready modern rock and metal” that , as Leigh tells us: “pulls no punches and takes no prisoners in doing so.” adding “ It’s everything I’ve never known how or felt able to say – until now.”
Opener ‘The Bullet That Missed’ has a stomp like a neo-Industrial Metallic Beastie Boys before switching into a chorus that is all Nu Metal, it’s a series of clashes that just works so well and a great screaming opener. The industrial crawl of ‘Deathwalk’ that follows is intoxicating ; and ‘What Remains’ uber cool stuttering, dark and light impetus makes it a wonderfully diverse opening.
As the press release states: “It’s a mission statement enshrined in Pop Evil to this day — and which provided the spark for the genesis of What Remains. “You’re always chasing that one song that can connect with that one person,” Kakaty says. “And that process has to start with yourself. There’s a lot of personal healing on this record, a lot of things I wanted to get out for my own mental well-being. I’m finally at a place where I can confront my demons.”
This is just wonderful noise – a “riotous explosion of life-affirming noise; a vortex of scything riffs and gut-punch drum beats that regularly give way to Pop Evil’s hallmark anthemic choruses.” as the press release goes on doesn’t really do it justice… This is Metal with emotion and melody, that doesn’t follow trends.
The laid back and sweeping chorus of ‘Wishful Thinking’ adds another texture; whilst ‘Side Effects’ is almost Pop in outlook and ‘Criminal’ that takes us to the second half of the record sears with a great riff and upfront drums, it’s one of my highlights here.
‘Enough is Enough’ cranks it up and stutters and stomps beautifully before exploding into that huge chorus; whilst ‘Zero To None’ crawls out of the noise with a cascade of drums and scratching guitar to a screaming refrain with all the built up energy of the driving verses. We’re certainly not slowing down as we run into the close, if anything we’re picking up steam!
Penultimate track ‘Knife For the Butcher’ is that slower number, starting with a semi-rapped vocal the drums underscore the refrain whilst musically we’re subdued with an almost fairground pattern playing against the darkened lyric, it’s a nice piece of art before the final storm.
Closer ‘Overkill’ wraps things up nicely with the dark and light at play – smooth melodic verses that linger and lead to a lush and melodic chorus. It’s not the Metal storm that I’d expected but just why this band is so essential, adding yet another, this time wildly commercial, texture to the overall album. I love it.
Another banger from Pop Evil to rival their catalogue so far!
