Falling In Reverse’s Coming Home: Unpacked

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Controversy magnet Ronnie Radke and his bandmates in Falling In Reverse (who seem to change every few months) have made some of the densest, most outrageous, and devastatingly clever modern rock and art pop of the last decade—yet nobody outside of kids who attend the Warped Tour year in and year out pay them any mind.

Some of the blame falls squarely on the shoulders of Radke. On top of boasting serious pop smarts, he’s cocky, moody, confrontational—let’s not forget he was fired from Escape the Fate in 2008—and at times misogynistic. As he sings in “Just Like You”: “I am aware that I am an asshole / I really don’t care about all of that though / I got nothing to prove / But honestly I’m just like you.” There’s also the fact that modern post-hardcore and metalcore bands aren’t given much space in outlets like Pitchfork, Rolling Stone, and Spin; it’s a black sheep subculture forever consigned to Alternative Press and Blabbermouth.Net.

Falling In Reverse believe a rock album should be nothing less than an epic sonic experience, promoting a bigger-is-better philosophy preached by heroes like Queen, My Chemical Romance, and Andrew W.K. (Though, truth be told, Radke’s just as likely to name-check Katy Perry, Gwen Stefani, or Lady Gaga.) Their latest album, Coming Home, is no exception. Where 2015’s Just like You was a manic fusion of blink-182-style snot, glam pomp, chart pop, metallic crunch, and Eminem-influenced attitude, the more carefully paced Home clears room for post-dubstep spaciness and chilly, atmospheric synthesizers. For instance, the title track sounds like a cosmic collision between Muse’s “Madness,” Daft Punk’s “Give Life Back to Music,” and the ZAYN/Taylor Swift collab “I Don’t Wanna Live Forever.”

Of course, Falling In Reverse aren’t the only Warped cats suffusing their jams with electronic ether. Issues and I See Stars—with whom Radke has feuded—incorporate flickering EDM programming, while The Word Alive drench their brooding anthems in ambient-like textures and acts like Pvris and Tonight Alive incorporate electro-pop touches. Yet none of them can quite match Falling In Reverse when it comes to packing songs full of hook-laden brilliance. Radke, for all his faults and failings, is a tunesmith operating on a whole ’nother level.