Rock Veterans THEORY Changes with the Times on ‘Say Nothing’

THEORY  | Say Nothing | (Atlantic)

3 out of 5 stars

You have to hand it to the members of Canada’s THEORY (shortened from Theory of a Deadman, sometimes affectionately abbreviated to TOAD). Three of the foursome have kept the band going for almost 20 years, with drummer Joe Dandeneau around for about a decade.  That’s a major accomplishment, especially for an act that even its own members would likely admit was initially heavily influenced by Nickelback’s melodic, crowd pleasing post-grunge pop. 

Of course THEORY has changed over the years – a requirement for most groups that hang together that long — but an association with major label Atlantic has injected more pop hooks into their sound. Add modified hip-hop influences and a lyrical maturity that, at least on this seventh studio album includes social issues and politics, plus just enough production sheen to split the difference between Imagine Dragons and Red Hot Chili Peppers.  Certainly lyricist/lead singer Tyler Connolly could have dropped most of the “F” bombs he casually tosses around (he actually says “f—k profanity” in the opening “Black Hole in Your Heart”), which doesn’t make THEORY sound dangerous as much as anxious to be taken seriously. 

The quartet expands its scope into modified world music (especially noticeable on the tribal drums and gospel supporting vocals that power “Quicksand”) and gets into an interesting concept by taking Ted Bundy’s point of view on the surprisingly sweetly melodic track titled after that serial killer.  

Still, with songs named “Strangers,” “World Keeps Spinning” and “It’s All Good” there’s plenty of room for creative improvement in the cliché department. For better or worse, every track fits comfortably into the modern day rock-pop landscape with enough sing-along choruses, moderately rap influenced vocals and arena beats that successfully aim for the back rows to please the masses. While the socio-political sentiments are often obvious if not simplistic (“minimum wage don’t cut it anymore”), it’s encouraging that Connolly aims for something heftier than the misogyny once prevalent in their music in songs like “Bad Girlfriend.” Additionally the strings that bolster “History of Violence” (a treatise against spousal abuse albeit one where the wife ends up in jail for killing her abusing husband) and a few other selections kick things up a notch too. 

Whether THEORY has twenty more years left in them is debatable. But with Say Nothing the band takes enough steps to both developing their lyrical content and staying musically contemporary to please hard rock fans who weren’t born when their debut was released and may have no idea who Ted Bundy, or even Nickelback, is.