Breaking Benjamin

Item: We Are Not Alone
Author: Phil Nichols

We Are Not Alone

(2004)

Reviewed by Phil Nichols

Discogs Apple Music TIDAL Spotify YouTube Music

Label Hollywood RecordsDecapolisAugust 2004

alternative metal hard rock post-grunge

There comes a day when every music journalist must write about a band or genre that he does not particularly care for. It is a day that he must struggle against his own personal bias, engaging in an epic battle against his own preconceived notions. It is a day of internal exertion and external suffering. That day is today. Monday.

For the past few years I have tried at all cost to avoid the entire painfully bland nu-metal scene and all of the copious Creed-core ensembles that continue to haunt the airwaves. Thus, I missed the release of Breaking Benjamin's debut album, which put them on the charts and allowed the band to develop its own sizeable fanbase. Aficionados lauded the band for bringing an iota of originality to a hackneyed radio rock scene. So, as an astute and shrewd observer might guess, the tension-none of which belonged to this writer- began to mount as their sophomore record, We Are Not Alone, approached release.

So has Breaking Benjamin been able to overcome the infamous sophomore slump? Well, not exactly. You see, for a band that was once hailed for being original, their newest effort leaves much to be desired creatively speaking. Sure, it incorporates all of the classic post-grunge ingredients: overdriven guitars, tortured singing, and Nickelback-esque choruses. It even features a song with Billy Corgan. But unfortunately, the album has a very commercialized feel to it, which takes away from the good things that the band does bring to the table. There are two or three tracks that are decent on the album, but an overwhelming majority of the songs are just monotonous, over-produced filler. That said, if you are a fan of radio rock, nu-metal, or bands that want to be Tool, you might get some enjoyment out of this, but for the most part this is just another commercialized rock album full of hooks, forced songwriting, and squeaky clean production, but void of any real substance.

2/4