Love them or loathe them, Falling In Reverse have spent the last 6 years trying to make sure that there are as few people as possible who are indifferent on them. Strictly musically – the quintet have dipped into a hornets nest full of styles over the past few years, most notably on 2013’s Fashionably Late which featured dubstep, hardcore, hip-hop and, well, pretty much everything else.
With that said, new record Coming Home is possibly the most consistently grounded sounding album the five piece have produced since their debut The Drug In Me Is You. However, the record still packs more unexpected punches than most releases you’re likely to hear this year, which if anything speaks of the depths the band have previously gone to in terms of genre hopping.
The loose and carefree ‘Fuck You And All Your Friends’ takes nods to Good Charlotte, while the tense, slow build of ‘I Don’t Mind’ is akin to what you would expect to find on a Thirty Seconds To Mars album, with big, dramatic choruses and soothing verse sections.
As with other Falling In Reverse offerings, vocalist Ronnie Radke is the star throughout Coming Home, whom despite having a distinct ability to rub some sections of the public up the wrong way – has a natural ode of power and sincerity to his voice that simply cannot be denied. Both ‘I’m Bad At Life’ and ‘Loser’ would come across as your standard, run of the mill power rock songs without Radke’s ability to add storming size and importance to their respective choruses – turning them into insatiable, anthemic palette cleaners of rock.
With lyrics like “If all else fails just think instead, at least you know I’m good in bed” Falling in Reverse are looking to keep their young, brash appeal. But it’s on ‘Coming Home’ and ‘Broken’ that the quintet sound at their most eclectic, and comfortable. While both tracks are simple and don’t travel too far outside the box – the added elements of synth and spacious rock make them the most mature the band have ever sounded, and are sure to be a stone hard hit with anyone that’s already a fan of the five-piece.
Coming Home isn’t quite the story of a band turning their previous work on its head and starting over for the better – but it is the story of a band flirting with the idea. Part charged rock performance and part emo/pop punk sprint to the finish line – the record most likely isn’t going to turn too many haters of the band into lovers, but it could be the moment they look back and notice a positive shift in their style.
Review by Kristian Pugh