REVIEWS
WRITTEN BY: MEG
Three years after the release of their 2017 album “The Canyon,” The Used are back with their eighth studio album, titled “Heartwork.”
Quite a few tracks on here lean towards the heavier side and trace back to the band’s earliest work, starting with the fantastic single and opener “Paradise Lost, a poem by John Milton.” The huge chorus is as unforgettable as the guitar riffs that open the song and album up, the more aggressive second verse brings some variety to the track, and a catchy lead guitar solo is thrown into the mix before that chorus returns. Following this song is another single, “Blow Me” (which features THE FEVER 333’s Jason Aalon Butler), containing energetic instrumentation, another very catchy chorus that’s very reminiscent of the band’s emo and post-hardcore roots, and a bridge and breakdown that really shows the band’s heavier tendencies. The intro of “Bloody Nose” foreshadows the darker composition found in the rest of the song, the pre-chorus is one of the most memorable on the record, and the powerful bridge incorporates some aggressive vocals, accompanied by orchestrals that bring extra emphasis to this section. “The Lottery” is arguably the most aggressive track on the album, bringing some heavier vocals and instrumentals right away before the melodic verses come in, providing intriguing melodies and riffs. The pre-chorus builds up very well to the bigger chorus, which brings back the same harder hitting instrumentation in the intro, and the feature from Beartooth’s Caleb Shomo fits perfectly on the track, from the captivating melodic vocals to the screams that bring even more aggression to the track overall.
A lot of this album shows the band experimenting a bit. The interlude “My Cocoon” mixes synths with piano and violin, allowing the vocals to show more, especially when the harmonies are added in. “Heartwork” is driven by similar orchestral instrumentals and synths, and emphasizes a powerful spoken word performance. “Cathedral Bell” is a lot softer and leans a lot more towards the pop and alternative side in regards to the instrumentals and overall production, and the upbeat and unforgettable “Clean Cut Heals” does the same. “The Lighthouse” is a little bit poppier as well, Blink 182’s Mark Hoppus delivers a feature that fits really well with the overall sound of the song, and the chorus is another one of the biggest and best on the record. The remaining tracks combine the various influences that the album has to offer. The anthemic “BIG WANNA BE” has another really strong chorus, and would’ve also been a good choice for an opening track, and combines the rock and alternative influences showcased on the record. “Wow, I Hate This Song” starts off a lot softer before the huge chorus and irresistible post-chorus come in, bringing some harder hitting instrumentation and a blend of clean and unclean vocals. “1984 (infinite jest) showcases the orchestrals yet again, and has a softer chorus that really grabbed my attention before more drums and guitars kicked in. The pre-chorus is a lot more energetic and also slightly aggressive, the second verse brings a similar amount of energy, also driven by the drums, and the ending is a bit heavier as well. “Gravity’s Rainbow” brings a mix of the orchestral elements found on the album and some powerful performances, especially in the bridge and ending. The catchy single “Obvious Blasé” features another member of Blink-182 - Travis Barker, whose drums add more to the track, and the second to last track “Darkness Bleeds, FOTF” starts out softer before transitioning to another huge and memorable chorus, followed by a heavier bridge and breakdown later on, as well as a softer final chorus and ending. Closing the album out is “To Feel Something,” a slower and initially softer track driven by acoustic guitar and piano during the verses. The vocals are showcased very well on here during the bigger and very memorable chorus, and the emotion in the performance really grabbed my attention. The same can be said about the instrumentals in the slightly aggressive final chorus, which was a powerful way to end the song and the album as a whole. With “Heartwork,” The Used incorporate elements from many of their past works, while still experimenting a little bit with other styles, and the album as a whole is a captivating listen. "HEARTWORK" IS AVAILABLE NOW. LISTEN TO THE ALBUM HERE:
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