2008 Woodie Awards
GC's New Release is 'Predictable'
Good Charlotte's new album fails to bring something original to the table.
Chelsea Banks
Issue date: 10/13/04 Section: Valley Life
- Page 1 of 1
Following the recent pop-punk trend, MTV poster boys Good Charlotte's new album "The Chronicles of Life and Death," is experimenting with a slightly harder sound. But unlike its peers, Good Charlotte found no need to strive for any semblance of unique ideas.
Good Charlotte's first attempt at originality, the intro to its album, is a pitiful effort at being artsy and complex. The first track shows that Good Charlotte apparently wants to make a signature of absurd intros that are disturbingly asynchronous to the rest of the album.
The second track picks up where the album should have started. "These are the chronicles of life and death and everything between," sings Joel Madden in his trademark whine during the chorus of the title track, a perfect precursor to the rest of the album.
Somewhere in the middle of the album, there are two incongruous and unseemly 80s pop flashbacks which take a few tracks to get over.
Good Charlotte's other experimental moments end up sounding awkward and misplaced, such as the screamed lyrics during the bridge of "Predictable."
Despite the few crumbs of originality and some inconsistent quirks, one can rest assured that Good Charlotte hasn't given up its style-pilfering ways.
Songs like "We Believe" and certain moments during "Mountain" have a sound reminiscent of Third Eye Blind.
Good Charlotte continues copying other bands' style with "In This World (Murder)" which sounds like it belongs on Trapt's last CD.
"Chronicles" isn't without its occasional gems, however.
"There is no hope / that's what we're told," Madden sings in "The World is Black," with a deceptively catchy melody and lively tempo.
The best song on the album, a hidden track called "Wounded," is the rawest, most honest sound that Good Charlotte has to offer. "Wounded" not only leaves behind some of the overstated, glossy production quality, it also references themes and desires mentioned on previous albums, linking them all together.
"Chronicles" is definitely listenable, but don't take the time to download it unless you have DSL.
Good Charlotte's first attempt at originality, the intro to its album, is a pitiful effort at being artsy and complex. The first track shows that Good Charlotte apparently wants to make a signature of absurd intros that are disturbingly asynchronous to the rest of the album.
The second track picks up where the album should have started. "These are the chronicles of life and death and everything between," sings Joel Madden in his trademark whine during the chorus of the title track, a perfect precursor to the rest of the album.
Somewhere in the middle of the album, there are two incongruous and unseemly 80s pop flashbacks which take a few tracks to get over.
Good Charlotte's other experimental moments end up sounding awkward and misplaced, such as the screamed lyrics during the bridge of "Predictable."
Despite the few crumbs of originality and some inconsistent quirks, one can rest assured that Good Charlotte hasn't given up its style-pilfering ways.
Songs like "We Believe" and certain moments during "Mountain" have a sound reminiscent of Third Eye Blind.
Good Charlotte continues copying other bands' style with "In This World (Murder)" which sounds like it belongs on Trapt's last CD.
"Chronicles" isn't without its occasional gems, however.
"There is no hope / that's what we're told," Madden sings in "The World is Black," with a deceptively catchy melody and lively tempo.
The best song on the album, a hidden track called "Wounded," is the rawest, most honest sound that Good Charlotte has to offer. "Wounded" not only leaves behind some of the overstated, glossy production quality, it also references themes and desires mentioned on previous albums, linking them all together.
"Chronicles" is definitely listenable, but don't take the time to download it unless you have DSL.
