2013’s Fashionably Late introduced a mass of electronic sounds to Falling In Reverse‘s style which proved to divide the fanbase which turned into more industrial sounds on 2015’s Just Like You. It is evident to see from the title track opening the album that this continues through to Coming Home.
The contrast between overly obnoxious F*** You And All Your Friends and I Hate Everyone is fantastic; the large band sound gives way to an acoustic verse that lets Radke’s voice come to the forefront of the piece once and for all – love it or hate it, this works on the track. The acoustic sound then expands into a whole band piece to become what the previous track was trying to be, and while the effect could have been achieved by just placing the one track on the album it sounds instead like a demo and a final version of the song. Come the halfway point of the sing, out comes a giant solo with a fantastic blues overdrive tone that makes the song work on a level above from the tracks surrounding it. Unsurprisingly, the lyrics leave something to be desired as will always come with a Ronnie Radke album but the irritation he causes only adds to the huge atmosphere being shaped in the album which works incredibly well.
As per usual, this album will be controversial by the fact it has come from the minds of Falling In Reverse but this should be far less polarising than 2015’s Just Like You due to the fact it is far more tastefully self-aware. The cheesiness of Coming Home is also toned down with fewer lines like “sexy girl I just fell in love” and “I am aware that I am an asshole” from Just Like You, instead replacing them with “I feel like a loser” and “everybody thinks you’re a f***ing fool” among others.
Not having Jacky Vincent on lead guitar was also a concern for a lot of people for this album with his unbeatable flair and finesse in his solos and fills, but the addition of Christian Thompson has brought a lot more restraint; where Vincent seemed to absolutely nail solos at any opportunity, Thompson adds them where necessary and leaves space where it is effective. This allows the album’s contrast to play neatly to the style of the songs and work out as a whole.
Overall then, a good album that shows a certain maturity has grown into Falling In Reverse that many believed would never have been gained. Having said this though, the album still features Ronnie Radke’s lyrics which keep the album totally class-less and it will provide a good laugh at points. Halfway between a quality album and a so-bad-it’s-good album, Coming Home is one not to miss this year.