The Sound of Madness
Brent Smith is the main reason The Sound of Madness works as well as it does. He can give a heavy song enough force to cut through the guitars, then make a much quieter melody feel just as substantial. Shinedown's third album puts both sides of that voice to good use.
Devour begins with a strong rhythmic build before the full band arrives, setting up a fast, direct opening. The title track follows with a bigger, more deliberate groove and a chorus that doesn't take much time to establish itself. These songs are built for an immediate response. The riffs are clear, the drums hit hard and Smith makes the whole thing sound urgent.
Second Chance changes the emphasis. The melody opens out, the guitars become less aggressive and the vocal does more of the work. It is a polished song, but the performance gives it enough conviction to avoid feeling anonymous. If You Only Knew takes a similarly accessible route, with a smooth chorus that fits the band's strengths very naturally.
The Crow & the Butterfly is the most affecting of the slower songs. Its sense of loss has room to develop, and the arrangement allows the emotion to build without rushing towards the loudest possible version of itself. Call Me closes the original album even more quietly, using piano to give Smith a clear, uncluttered setting. The restraint is welcome, and the song holds its mood all the way through.
The heavier material is less consistently distinctive. Sin with a Grin has plenty of force, but a strong attack alone doesn't make it as memorable as the best choruses here. There is also a noticeable change in momentum when the record moves between its harder songs and its many ballads.
Even so, the strongest material explains the album's broad appeal. Shinedown understand how to make a melody feel large, and Smith gives the songs a recognisable centre. The Sound of Madness is particularly good when it lets the emotional singing take the lead. The loud songs get things started; the slower ones provide much of the character.
