DOPESICK - The Love And Terror Cult

Lynn Carberry

 

Dopesick are a punk/rock/metal outfit from Hollywood, California, although you might recognize some of the members from previous band Skinlab or from Adam Albright touring with Sebastian Bach’s solo outfit. Putting the troubles of the past behind them, Albright and Dopesick have returned to the scene with new album The Love and Terror Cult.

 

The album kicks off like a Rob Zombie horror movie with track August 1969 with broadcasters citing the gory details of the Sharon Tate murders carried out by the Manson family with ominous synths slowly overtaking the broadcast announcement, with an eerie Halloween theme like piano line playing periodically throughout the piece. The song ends with some haunting singing that wouldn’t be out of place in an asylum and a moments silence before the next track.

 

Ride The Night then takes the listener in a completely different direction with a reggae beginning that progresses into a metal chorus with the chant “Let’s ride the night away”. This is the lead single from the album and features guest vocals from Jahred Gomez (Hed PE) fame. The song flips from verse to chorus and equally from reggae to metal throughout the track and there are various sound effects which allude to possible illicit activities. (Depending on which state you live in and what prescription you have, of course.)  A definite head nodder at times when the beat kicks in.

 

Fruitvale begins with an organ-like synth and a chorus of whispers ascend as an acoustic guitar begins to take the spotlight in the listener's ear. There’s a dark feel to this sound and a bitter wind blowing throughout the track and an ever so slight feel of Limp Bizkit – Behind Blue Eyes.  A wailing guitar then blows in on an easterly wind straight from 1986 to delight the listener. The noises of the whispers become more audible, although intentionally not enough so that you can catch their message and the acoustic guitar and synths slowly lead us out to the end. It seems like there’s a brutal truth and honesty to this track, without a word even being said.

 

Release me, which features Cristian Machado, has a stadium rock feel to it – very similar to Sixx AM. Again, a total contrast from the previous track but definitely the most radio friendly of the album. It’s easy to pick up and sing along to and you can definitely hear the ‘insert audience participation’ points within the track.

 

The closing track Hayes and Webster starts with the sound of machinery and invokes the image of a production line, which leads into a Metallica-esque riff played with the heavy style of Sabbat. It weirdly compliments the background sounds of industry. Again, the guitar solo takes center stage here, stealing the listener's attention and almost sounding like a solo-off with one-upmanship at points.  A nicely layered instrumental track which fades to end.

 

Overall, very much a mixed bag of an album but if you like the idea of G3 mixed with a bit of Slayer – then this just might be the album for you.

 

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