High octane riffs, caveman style
Theory of a Deadman, rebranded as just Theory, released their latest album, Dinosaur, with fans reveling in its brilliance. The title track, “Dinosaur”, delivers an unstoppable, addictive beat as punchy as its satirical video accompaniment. Cavemen compete in Mesozoic-era talent shows, an engrossing and wickedly entertaining addition to the high-octane power behind “Dinosaur.”
Theory is no stranger to aggressive yet charismatic music, Dinosaur —the follow-up to 2020’s Say Nothing—paving the way for yet another unstoppable album. Infectious frontman Tyler Connolly belts out one earth-shattering note after the next, his vocals perfectly in step with Dave Brenner’s flawless guitar licks. Dean Back offers up an unyielding performance on bass, carrying the melody while Joey Dandeneau’s drums offer up a powerful, playful addition guaranteed to keep pace with any riff.
The album slowly unravels, revealing one intoxicating track after the next. “Medusa (Stone)” is exhilarating and unpredictable, a rollercoaster ride in the pitch black —sudden, drawn-out pauses precipitate thunderous instrumentals while Connolly tackles multiple octaves, demonstrating his impressive range.
Theory is nothing if not multifaceted, with “Sick” being a sharp contrast to the two earlier tracks. The music pulls back and offers a more reserved appearance, but the occasional primal scream conveys a jarring myriad of emotions, encapsulating them all within one track. When deconstructing Theory, there is no muted track —they’re simply lying in wait, visceral lyrics a reminder of what’s yet to come.
“Two of Us (Stuck)” summons Bill Withers fans, albeit those looking for a brooding lament to a romance doomed from its inception. “Two of Us” tells the tale of irreconcilable differences, Connolly’s guttural screams masterfully dispersed throughout the track. It feels as if the musicians are constantly reinventing the wheel where covers are concerned, often swapping major chords with minor ones in an attempt of delivering something new, something inventive —to no avail. But Theory does the exact opposite. They’ve cleverly deconstructed and inverted a classic, brilliantly reimagining it.
As Dinosaur continues to enrapture, Theory launches into another mind-bending number, “Ambulance” as high-voltage as the rest of the album. Even Theory’s more subdued songs offer up a tasty bite, fangs poised and ready to attack as a series of muted sounds provide a vehicle for distressed, intensifying lyrics. ”Sideways” offers an intimate glimpse into the mind behind the microphone, and it’s impossible not to wonder what they’ll unsheathe next.
Dinosaur ebbs and flows, each track offering highs and lows that keep time with an undisclosed storyline. “Get In Line” and “Head In The Clouds” flawlessly execute opposing sounds but still retain a homogenous quality. Theory refuses to conform to any one sound, nor should they. Very few artists are capable of enmeshing multiple genres, but Theory knows no bounds. “Heart’s Too Wild” is an atmospheric ballad with country music roots, the melody softer than its forerunners, a testament to what Theory is capable of —anything.
Theory once again switches gears with “Summer Song”, an impish track with a continued hint of country twang and relentless, unapologetic lyrics. Theory has nothing to be sorry for. Their music is witty, guttural and tangible. They deliver the goods time and time again, making them one of the rare greats with undeniable staying power.
Leave a Comment