Rollins Band
Come In And Burn

THE REVIEW

Actor, poet, writer, Henry Rollins is one of the most interesting figures in the music scene, not just an icon with a powerful, tattooed physique, but also a very clear and open mind.

"Come in and burn" doesn't have the makings of a masterpiece merely because it revisits, several years after "The end of silence," the classic Rollins Band sound, post-punk/metal. The way of playing that the band was among the first to propose back in the late '80s, when the terms nu-metal, Korn, or Rage Against The Machine were not yet in the conversation, but rather groups like Rollins Band, Kyuss, and Living Colour. Listening to "Come In And Burn" today may give the impression of déjà vu, but more sensitive minds may highlight the difference in the way music is conceived and the attitude concentrated by the musicians and Rollins compared to newly formed groups that perhaps have an even heavier sound (Slipknot?).

Technique and precision are not lacking for the musicians, the style is, of course, a derivative of the best Black Sabbath combined with the hardcore-punk influences of the era, as Henry Rollins was also the frontman of a fundamental hardcore band, the Black Flag; the guitar follows precise and sharp riffs (Shame, Disappearing Act), the guitarist makes extensive use of wah-wah and places splendid solos where fitting, the bass is heavily affected and robust, the drums precise and powerful, the voice in Rollins' classic spoken style follows higher notes as the songs burst (All I want) and lowers when more melodic and dark parts open up (Inhale Exhale), with the voice reaching very low tones, and instruments barely perceived, only to come back scratching and hitting hard.

The songs often bear some resemblance to each other, but certainly standout masterpieces like the opener Shame, All I Want, the very powerful The End Of Something, the perfect synthesis of angry outbursts and spoken parts with a nice bass, and also On My Way To The Cage, Spilling Over The Side, Unknown Hero. In short, Rollins knows how to flex his muscles very well in the music while leaving room for the mind in writing the lyrics, often even poetic, avoiding writing childish things like Phil Anselmo (Pantera) centered on beating the next person to a pulp.