Nickelback
Get Rollin'

Yes, even Nickelback can somehow surprise. We remember very well when they declared their intention to make a metal album, and we were really hoping for a heavy work; they would absolutely be capable of doing it, not only does their modern hard rock already have a slightly metal-leaning sound, but on several occasions, they have produced tracks with heavy riffs that one can't help but associate with metal.

But no, or at least not now, the much-maligned Canadian quartet backtracks on everything and even takes the opposite route. "Get Rollin’" is a pop-rock or soft-rock album, and it needs to be made clear from the start to avoid generating false expectations. This isn't much of a surprise, really, since it's been known since 2005 that Nickelback is also a pop-rock band. Starting from that date, their albums were no longer just a concentrate of energy but also offered several showcases to a light and radio-friendly guitar; and the issue wasn't limited to just a couple of tracks, rather it concerned almost half the album – 5 tracks out of 11 were soft. The band had already played the card of a more markedly pop album with "No Fixed Address" in 2014, the group's most explicitly criticized album. So where is the supposed surprise mentioned at the beginning? Clearly not in the choice to make a soft album but rather in doing so after having alluded to something completely different.

Like it or not, "Get Rollin’" seeks to delve into and fully explore Nickelback's pop-rock spirit. There is just a small nod to the more hardcore rock fans, a few small concessions, with only 3 tracks in their typical hard style; those who do not appreciate the rest of the album can still enjoy the energy of "San Quentin," the massive groove of "Vegas Bomb," and the highly successful hard blues of "Skinny Little Missy." Those who love Nickelback for their other side will have absolutely no problem familiarizing themselves with this album; also because focusing on the lighter side is in no way synonymous with dullness. On the contrary, it's endowed with a more or less tangible positive energy, already hinted at by the lively cover, depicting a travel van surrounded by palm trees, sand, sun, and clouds in a very bright yellow/orange hue. There's truly a summer, beach atmosphere, with motorbikes and hair flying in the wind, bikinis along the Californian coast, all slightly veiled by a thin layer of melancholy. Throughout all this, the general sound framework remains fundamentally rock’n’roll; the softer imprint immediately sparks a comparison with "No Fixed Address," but it's a comparison that doesn't hold much water, as the 2014 album attempted a pop approach by incorporating funk, disco, electropop, and rap elements, which doesn't happen here. Additionally, there is a minimal and imperceptible attempt to refine the arrangements, making them seem slightly less flat, a defect partially noticeable in the group's soft tracks, not entirely resolved but at least smoothed over.

Whether ballads or not, the tracks maintain the right dose of brilliance, with "High Time" standing out above all, absolutely summer-like and Californian to the core. It is both the synthesis and pinnacle of everything; among the ballads, "Does Heaven Even Know You’re Missing?" stands out, managing to bring that type of warm atmosphere to a slow track. "Horizon" also succeeds, albeit with slightly less vigor. The unusual downtempo of "Steel Still Rusts" is surprising, also among the more "American" episodes of the lot, balanced between country-influenced acoustic passages in the verses and lightly rusty guitars in the chorus. In contrast, "Tidal Wave" appears more subdued and tormented, still summery but more like a less sunny day, variable, at times rainy with a stormy sea – the title says it all, with a sparse sequence of soft and dark guitar notes at its core. However, the track that contrasts with the overall atmosphere of the album is another, "Standing in the Dark," which practically clashes with the cover, having a grey, autumnal mood. The bass line makes it almost gothic in its progression. "Those Days" disappoints, the usual electroacoustic ballad wanting to be the new "Photograph" but failing to do so, trying to replicate that type of past-memory-based text but with a melody that lacks bite, seeming devoid of verve. The distinctly pop track, void of any ambition except to entertain a little, still exists and consists of the concluding "Just One More," also placed towards the bottom in the likability index but still pleasantly agreeable, slightly dipping into chart-pop but maintaining a step above.

Now, some reflections on what this album is. Is it a commercial sellout or does it truly highlight the spirit of the group at the moment? Well, after what they had declared, the first option would seem more obvious, that the opportunity to make big hit singles prevailed over the presumed desire for metal. But it's all up for debate, Nickelback already has enough success and hit singles; they wouldn't need further commercial gimmicks. In reality, the path taken is even risky: they are already constantly under fire, accused of making flat and commercial rock, and a change of direction like this only serves to heighten the negative reputation they have garnered, not to mention the risk of being criticized by the same fans or those who find something good in them. So ironically, we can affirm that not only is "Get Rollin’" not a sellout album, but it is actually courageous, having done something that could potentially lose them some support. They probably truly did what they felt like doing.

Who knows whatever happened to that supposed metal album they wanted to create… Might "Get Rollin’" be the soft counterpart of the album to come? Could they have possibly wanted to delve into this side only to bring out the more aggressive and heavy side in the next album? Well, it wouldn't be a bad idea at all; bands far superior to them in every aspect have done this experiment with excellent results. We think of Ayreon with the two chapters of "Universal Migrator" or the reverse path taken by Opeth with the "Deliverance"/"Damnation" duo. We'll see what comes out of the hat.