The Stone Sour return, a band that has the privilege of having two Slipknot members, Corey Taylor (vocals) and Jim Root (guitars), and which reached the charts in 2001 thanks to the single "Bother" (included in the soundtrack of "Spiderman"), a rock ballad (with a hint of nu-grunge like Staind) taken from the self-titled album that was heavily influenced by nu-metal so much so that it also featured Sid, the DJ from Slipknot.
This time Corey, the band's frontman, after working on the excellent "Vol. 3 (The Subliminal Verses)" by Slipknot and touring the world in support of it, reunited with his first band and decided to lift the musical burdens from the group's sound. Indeed, "Come What(ever) May" sounds like a simple rock record, well-made, 100 percent aggressive and exquisitely melodic ("Melody" seems to be a buzzword for Stone Sour).
The album opens with "30-30/150", a song that seems to continue the tradition of the previous "Get Inside" of starting fundamentally melodic albums with strongly metal tracks. In fact, "30-30/150" is not only one of the best songs on the album but also one of the most aggressive and "heavy." American stoner rock shines nicely with tracks like the title track, "Sillyworld" (which has a strong influence from Nickelback), and "Made of Scars". But even in this album, the shadow of the masked nine looms, in fact, "Reborn" could feature on any "Vol. 3" for its aggressiveness and vocal harshness that Taylor brings to this song. The pinnacle of the entire album is nonetheless "Through Glass", compact and sweet melodic rock that features a truly monumental performance by Corey (the days of the "Iowa" grunts are over). Also noteworthy is the concluding "Zzyzx Rd" where the piano appears, the guitar work is amazing and Corey's voice (sorry to repeat myself) beautiful!
Even by softening the sound, Stone Sour hit the mark once more, they have finally made it clear that they are NOT a satellite band of Slipknot and that theirs is a completely different genre. Buy this album of pure melodic crossover rock because you won't regret it, but if you are a fan of the ultra-metal side of Slipknot, skip the album, you won't understand its beauty.
It's a classic Nu-Metal album: tracks pulled like a sound power but that lean too much towards commercial and impactful melodies.
The problem is not so much the melody in this album as its monotony and its disorienting predictability.