I feel like all of my reviews start with some sort of a disclaimer, but I believe that context is important. So this time, I'll say that I haven't listened to, or thought much about, Finger Eleven since 'Paralyzer' was a popular song. And before that, I only knew the song 'One Thing'. I am, in the gaming parlance, a "filthy casual". But I wanted to review this new record to see how Canada's premier post-grunge/hard rock/nu-metal (ish) band has evolved over the past two decades.

The album is heavier than I was expecting, kicking off with 'Adrenaline', a churning, bluesy 12/8 build that explodes into a powerful chorus full of satisfyingly dissonant guitars and stadium-sized drums. The second single, 'Blue Sky Mystery', will probably ring familiar for fans of 'Paralyzer'. Its verses have that groovy, bouncy guitar riffage and disco-inspired percussion and the chorus and guest vocals from Richard Patrick of Filter, combined with the breakdown/solo section, give it a more metallic edge.

The third track, 'Cold Concrete', is a clear standout for me. The band takes an experimental approach to song structure and production here. It begins with a thin, distorted guitar laid over an industrial electronic drum beat, which dissipates into gorgeous ambience for a brief moment before returning for exactly five beats and dropping out once again to give way to the full band for the second verse. After another country-tinged ambient section, the listener might expect a big, heavy chorus. Instead, we are treated to some guitar feedback and a decidedly poppy riff that is reminiscent of '80s arena rock. It's a fun twist on a classic formula of softer verse/heavier chorus, and provides an engaging listening experience. Honestly, this could have been the lead single, as it gives some highlights of the influences and sounds that are present throughout the album at large.

The duo of 'Lock Me Up' and 'Last Night On Earth' is a bit slower and softer, really leaning into the band's post-grunge side with acoustic guitars (which are expertly produced by the band's drummer, Steve Molella), the distinctive vocals of Scott Anderson, and even some orchestral backings. The band has cited Phil Collins and Genesis as big influences on this record, and that is most evident here on these two tracks.

Following that brief respite, 'The Mountain' is possibly the heaviest track on the record. It is a rousing, proggy sonic journey that features a particularly nasty, if rather brief, guitar solo. And speaking of guitar solos, that ending solo of 'Perfect Effigy' is one of the highlight moments of the album.

Another set of ballads follows to conclude the album, with 'Wall Dogs' and 'Laughing at the Storm', the latter of which builds into a massive, swelling conclusion full of hope and strength as the lyrics claim "I'm not going anywhere!". The final track, 'Body and Mind', is another acoustic piece that features some beautiful vocal harmonies and melancholic strings that underscore lyrical themes of depression and dissociation.

Given the difference between the two singles I'd heard from Finger Eleven prior to listening to this record, I suppose I shouldn't have been surprised at the sonic diversity on display here, but I must say that I got a lot more out of Last Night on Earth than I expected to. Repeated listens uncovered more nuance and detail in the production and structure of the songs. Having a member of the band produce the album really allowed the songs to come to life in a meaningful and intentional way.

Last Night on Earth has certainly made a fan out of me, and I'll be diving into Finger Eleven's back catalog to find out what other gems have been waiting for me to discover them.

Finger Eleven: Last Night On Earth

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