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DISTURBED: ‘Divisive’

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November 18

Reprise Records

This may be an unpopular decision, but you know what they say?

Opinions are like assholes. Everyone’s got one…

When Disturbed’s debut album The Sickness first came out, I loved it – still do. It was a breath of fresh air in a scene growing increasingly stagnant, and provided hope for the metal future.


From the moment David Draiman barked out his first “Oh-wah-wah-wah-wah-wah’ I was hooked. Hell, I even liked the cover of Tears For Fears’ song Shout!


From there Disturbed gradually started to lose me. Not that their material was any less impactful, it was more that they started getting a little too commercialized for my liking. Not that there’s anything wrong with that, a band has to make a living, but I missed that aggressive tone that almost reached through the speakers and grabbed you by the throat.


When The Sound Of Silence cover came out I almost wiped Disturbed completely. I mean, what the fuck does the sound of silence even sound like? I’m pretty sure I was the only one in the crowd not holding a lighter up for that song live. I went to the toilet instead.


2018’s Evolution showed glimpses of that anarchaic rage, but that was too often offset by mellower numbers that reeked of a misspent youth and the woah is me factor that comes with it.


When Disturbed’s new album Divisive landed on my desk the first thing I noticed was the title.

It’s either a nod to the recent nature of the band’s music or a sign of the times, but nonetheless, it piqued my interest enough to claim this review as my own.


Opening with lead single Hey You, Divisive launches straight into familiar territory, downtuned guitars screeching and Draiman menacing the microphone. It almost feels like a call to arms of sorts, calling out the doubters and serving the middle finger salute to anyone foolish enough to think Disturbed have run their race.


The song is almost a snapshot of Disturbed’s career to date, featuring moments of aggression, harmonious interludes and passages that could easily slot into most radio playlists. It’s a brave way to start the new album, but also shows Disturbed are proud of their achievements to date. Proud enough to combine them together and introduce Divisive, but still not clearing up my minor misgivings.


A cool breakdown mid-way does enough to suggest Disturbed have their metal back on. It’s funny what a few thumps of the kick drum can do…


Bad Man is up next and explodes amid a wall of guitars that just feels right. Draiman is back to spitting out his lyrics, and this song almost makes me feel like the bad man for ever doubting them.

It seems Disturbed have finally found the balance in the contrasting styles and decided to mix them together rather than separate them into individual tracks. Which is fine by me.

The title track roars to life next and immediately showcases another reason why it was chosen to promote the album. Draiman bludgeons his way to his trademark vocal range on this track, commanding proceedings like a devilish conductor.


It chuggs in the right places and wails in others, but that underlying menace that accentuated Disturbed’s earlier material is evident in spades.


A wicked guitar solo punctuates the track and has the feel of a band enjoying the moment. The anthemic moments are still there, but it feels like Disturbed are more owning it rather than toying with it, if that makes sense.


Unstoppable is just that as it menaces to life, double kicks spraying the walls with aggression. It lays the platform for an in-your-face track where Draiman declares “there’s nowhere left for you to hide” and I momentarily think he has directed this at me.


Well, maybe not me specifically, but definitely to those who thought Disturbed had taken too many mellow pills in their ageing years.


By virtue of the title alone, Love To Hate almost makes me cringe as I wait for it to start, but to my pleasure it’s not a love song. More of a statement.


A statement that Disturbed are no longer predictable – and even if they were, this is their party, so who the fuck are we to judge?

It has a softer chorus, but that is quickly swallowed up by the ferocity of guitars that roughens things up enough to make this a cool wanna-be-love-song.

Feeding The Fire sees a battle off between guitar and drums to start before Draiman gets his cleans on and separates the warring parties. It is definitely the tamest track so far, but isn’t completely off-putting. (I’m hard to please hey).


After eight albums, Disturbed have finally succumbed to the musical trend that is guest artists. Why they have chosen now as the time to start is between them and their producer, but they have, and they have chosen Ann Wilson to perform a duet with Draiman. It’s a soppy as fuck number that allows Draiman to show off his vocal range nicely, and, admittedly, Wilson’s voice compliments the other beautifully. If you like that sort of thing.

Which I don’t.

It toughens up a touch as the song gathers momentum, but me and love songs have a bad history so let’s agree to disagree. I did love the guitar solo but…


Take Back Your Life has that stuttering electronic intro made famous by Disturbed around the turn of the century. It’s a welcome return to the past for the band and a possible nod to the past merging with the future. The verdict is still out for me.


Part Of Me restores the faith with a powerful intro that threatens an all out sonic ambush. It moves along at a steady pace but noticeably keeps that momentum going without stripping things back for comfort. An awesome guitar-led breakdown mid-way through brings a smile to my face as the drums menace and the guitars swirl with intent. It’s only a brief war of attrition, but one that carries the track through to a pumping conclusion void of safety.


Which I love.

If the final track Won’t Back Down isn’t a fuck you statement, then I’m not an Essendon supporter.

Like the opening track, Hey You, Disturbed again showcase their many influences in one package for Won’t Back Down, but this time with the focus more on the heavier side of things.


If anything, this song proves the theory that you don’t have to be brutally heavy to be heavy. It’s as much about intent and mood as it is crushing music.


Not that Won’t Back Down doesn’t have a tough spine. It’s tough as fuck. But it doesn’t need a heavy coating to disguise the fact that Disturbed are inherently heavy to their core.


It’s a short, sharp number, coming in at just under 3 minutes but is the perfect way to leave things.


Yes, Disturbed will always to continue to do what they want musically, but don’t ever think that means they are going soft.


A welcome, if not completely triumphant, return!

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