Nickelback
Dark Horse

A step back for Nickelback as they return with the new "Dark Horse". The previous "All The Right Reasons" represents one of the best moments in the career of the Canadian band, ranging from powerful and overwhelming tracks like "Next Contestant" to emotional pieces like "Savin' Me" and "If Everyone Cared"; the only discordant note was the indecent "Far Away" which seemed out of place on the album. This time they disappoint us with an album that seems a notch below their previous works, at times monotonous and not very engaging, starting with the first single "Gotta Be Somebody," which is definitely not up to par with their radio-friendly and commercial yet high-quality hits like "Someday" or "How You Reminded Me".

It starts off quite well with "Something In Your Mouth" and "Burn It To The Ground," rough and powerful pieces where Kroeger showcases his vocal ability. The band quickly gives the impression of wanting to hit hard on the guitars. After the single "Gotta Be Somebody," immediate and with good impact but really pale compared to "Photograph," the first single from their previous work, we come to what is probably one of the best moments of the album; the excellent "I'd Come For You" is indeed the classic soft piece capable of moving and capturing the listener's attention in a melancholic and dramatic atmosphere. With "Next Go Round" and "Just To Get High," we finally start to hear some proper heavy rock, with dominating rocky riffs and powerful rhythms. What surprises, however, are the spot-on solos present in both tracks, finally a pleasant novelty compared to previous works. Kroeger and Peake seem to have remembered how to play a guitar. If all the tracks on this album were at the same level as the splendid "Just To Get High," which seems to nod to Metallica's Load, there would really be something to enjoy, but unfortunately, it isn't so. The excellent solo that explodes after two minutes and eighteen seconds of this track and is reprised in the finale where it provides a backdrop to Kroeger's voice is thrilling. Could they refrain from including the classic poppy ballad in one of their works: never! And here we are with "Never Gonna Be Alone," a piece that starts promisingly with an acoustic guitar but then disappoints, not exploding but rather getting stuck in a too sappy refrain.

"Shakin' Hands" stands out with an interesting nod to the seventies, while with "S.E.X." the rough, aggressive, and adrenaline-filled guitars return: the excellent solos and a pounding drum make these two tracks interesting, confirming that they express themselves better when there's a need to show strength; however, these are rare episodes because what prevails is the frantic search for a chart hit. The sound indeed softens with "If Today Was Your Last Day," a classic and simple song but at least with an excellent melody. The work closes in the worst possible way with "This Afternoon," a pop piece with a retro country vibe completely out of place and really too banal.

We can thus say that "Dark Horse" is a highly listenable album but still overly predictable. The arrangements are good, and especially the attempt to give energy to the work with well-done and non-trivial solos is excellent, although unfortunately, this album lacks those splendid songs that Nickelback, albeit criticizable at times, have always managed to produce over the years. Despite this, the Canadian band far exceeds sufficiency, presenting us with a simple work, well-curated, played excellently and with superb production; this is to be added to the usual grit and the superb melodies always greatly interpreted by Kroeger. Moreover, the courageous attempt to pursue the path of sound renewal must be commended, and above all, a greater maturity of the band is evident, along with the significant vocal improvement of Kroeger. Lastly, it's worth remembering the real limitation of this band: adherence to market laws. Over the years, we've listened to beautiful pieces but also baffling songs to the point of making Nickelback unpopular with many. When they stop wanting to appear on MTV, after having already sold twenty-seven million records, and finally begin to do nothing but good hard rock, which they do very well if we think of their beginnings, then maybe the compliments can overshadow the criticism.

From such a band, we must expect and demand something more.