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Get Rollin' (Deluxe)

Get Rollin' (Deluxe)

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On August 31, 2022, video of the band's video-shoot for the lead single " San Quentin" was posted online by fans who attended video-shoot via their social media posts. San Quentin is the obvious standout, as the raucous, driving rocker pivoting closer to metal that’s become an invaluable asset for them in later years, but as far as middle-of-the-road rock goes, Steel Still Rusts and Standing In The Dark take their place among the band’s established canon with fair ease. As for the latter, Nickelback clearly know how popular they are and how to win over that existing audience.

And when they’re still painting with the same brush strokes as wide as the Atlantic, with minimal variety after all these years, you start to wonder what Get Rollin’ really adds to any greater conversation. The highs aren’t very high, but they’re serviceable enough; even when the formula is being as rinsed as it is, there’s a certain bar of quality that Nickelback can hit in their sleep. This is Nickelback’s tenth album, and it couldn’t be clearer how much they’re resting on their laurels; hell, even they themselves probably wouldn’t deny it at this point.During an interview with WRAT radio station, lead vocalist Chad Kroeger spoke about the lyrical inspiration for "San Quentin", saying: "I met the San Quentin prison warden at a party. During a July 2021 interview, bassist Mike Kroeger commented when asked about the band's progress on new music saying "That is happening right now" he said of the forthcoming LP. Maybe that’s a bad thing—after all, even a bad album can be more fun to rip apart than a boring one—but at this stage, what’s the point in even singling Nickelback out for that? It’s all playing the hits, as it were; if Feed The Machine’s assertions to rising up were a bit too radical, Get Rollin’ is back to good ol’ terra firma with another helping of everything the fans know and love. Especially in the case of Nickelback, theirs is among the most harmless overall, likely a result of its abject broadness and lack of real edge or significant depth.

I was, like, 'There's just no way that you're the warden of San Quentin,' and everyone was, like, 'Yup. If anything, it’s a similar end to where a lot of country music was in the 2010s, slightly in execution but mostly in ethos. To be fair, they’re playing around with some spacier production touches on Tidal Wave and Just One More, or slight country-rock flavour on Steel Still Rusts; neither add any nutrition to the existing meat-and-potatoes radio-rock, but they work for what they’re going for.And after all, the album still averages out in usual Nickelback fashion, in which there’s no edge or transgression, or ambition outside of the broadest plays for the down-the-middle rock crowd. Because we feel that you can make a good record and be late, but you can’t, or you shouldn’t, make a shitty record to be on time. I don’t know how we sort of did that and how we got the acceptance from our fans to be able to do that, but we’re very lucky because we don’t have to record the same kind of music thinking to ourselves, ‘Well, the fans are expecting this, so we’ve just gotta give 'em a whole album of that.

There’s no compositional genius to be found here, but it’s more than most like them could ever muster, and brushing against pop on 2014’s No Fixed Address and flirtations with metal on 2017’s Feed The Machine (their two most recent albums, at that) at least points towards a band aware of how immovable their longevity is.Mike Kroeger spoke of his personal desire to move in more of a heavy metal direction, or wanting to do an album of Slayer cover songs. But even saying all that, there can be a certain degree of embarrassment felt from sticking up for a band like this, especially when a new album comes out.

They aren’t a band with the sort of catalogue that welcomes it; instead, they’ve made lowest-common-denominator rock music forever, with occasionally the mildest change-up that’s never affected the payoff even slightly.You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. You mightn’t like it, and even from the position of recognising there is quality here, it’d be nice if more creative bands got even a fraction of the slice they have, but there are more worthwhile entities in the music industry to hate than this. Some could point out High Time as the low point, with its jaunty southern-rock croak that further compounds how lame of a song about weed this is, as well as how infernally pleased with itself it sounds about the exact same thing. We don’t have one record that really sort of sounds the same in terms of songwriting from top to bottom.



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