Falling In Reverse – ‘Coming Home’

For those unaware of Falling In Reverse, let’s just have a quick recap: they have been the vehicle for Ronnie Radke to disrespect women, spill his guts about drug use and address his perception that people have hated him for the best part of ten years. He has been given more chances than a Monopoly board, and he’s probably collected more than $200 every time he has passed go. Despite this, Falling In Reverse have amassed quite a following, so they must be doing something right.

On the surface, their fourth album, ‘Coming Home’, appears to be their stab at becoming a more serious band. It seems that Radke is no longer the “White boy on the beat rockin’ Gucci sneaks,” and considering he once claimed he has “been in rap since I was shittin’ in Pampers,” that element is all but gone from Falling In Reverse. For ‘Coming Home’ they have changed their sound, again, and for the most part venture into arena-rock territory.

If you can get past the stomach-churning lyrics of Radke attempting the deep and meaningful on the title track and ‘Broken’, they display elements of 30 Seconds To Mars-esque ideas of grandeur. Take out the hideous vocal effects of the former, and ignore the fact there is an unsubtle use of pro-tools and autotune, some of these songs aren’t the worst thing the band has ever put out, musically.

Then, it happens. You reach the trifecta of self-loathing and musical criminality. ‘Fuck You and All Your Friends’ sounds like the song My Chemical Romance are happy they didn’t write, and Radke blames the rest of the world for his problems on ‘I Hate Everyone’. We get it, Ronnie, you have issues and it’s everyone’s fault. He does at least try to own it on ‘I’m Bad At Life’, but when he spits lyrical detritus like, “If all else fails, just think instead, at least you know I’m good in bed,” it becomes laughable.

It would be a total disservice to Falling In Reverse to say that some of these songs aren’t catchy, because they are. ‘Hanging On’ is built around driving pop-rock riffs, and ‘The Departure’ has a relatively inoffensive groove to it. You would also have to give a degree of credit to the crisp, crystal clear production job. It’s tight, and gives the towering guitar work and Radke’s soaring vocals the punch they need. There’s no polishing a turd, but it appears you can in fact roll it in glitter after all.

The truth is, Falling In Reverse fans are going to enjoy this record regardless, and that’s fine. Yet, if you were ever on the fence about them, or actively disliked them, ‘Coming Home’ isn’t going to do anything to change your mind.

GLEN BUSHELL