Breaking Benjamin Albums (4)
What The Critics Say
Breaking Benjamin's fourth foray into the crowded waters of early 21st century alternative metal/post-grunge feels a lot like their first three. That's good news for longtime fans of the brooding Pennsylvania quartet. Front-loaded with the singles "Fade Away" and "I Will Not Bow" (the latter was featured in the Bruce Willis sci-fi film Surrogates), Dear Agony feels like a well-oiled machine, and producer David Bendeth, whose immaculate touch helped 2006's Phobia sell 131,000 copies in its first week, conjures much of the same magic here. ~ James Christopher Monger, All Music Guide
What The Critics Say
Breaking Benjamin are nothing if not consistent. Phobia finds them picking up exactly where they left off with 2004's We Are Not Alone, mixing heavy hard rock dynamics with a moody demeanor that never slips into full-on dejection, thanks in part to their proficient grasp of the accessible melody and ever-rousing chorus. Darkness permeates Phobia's tracks (bookended by a useless intro and outro), but the quartet always remembers the silver lining hanging in its oft-cloudy skies. Songs like "Until the End" exhibit this resilient attitude, affirming that while life can be tough, "Why give up? Why give in?…So I will go on until the end." Breaking Benjamin mix urgent up-front vocals with dense underside riffing ("The Diary of Jane," "Topless"), while still being able to effortlessly pull off songs with vulnerable edges ("Here We Are," "Breath"). This is heard even more in the gentle acoustic version of "The Diary of Jane" not listed on the back cover; it sounds natural and not just like a strained bonus novelty -- featuring Dropping Daylight's Sebastian Davin, the version may even be better than the original. As is often the case, certain tracks work out much better than others, as in the tough angst of "Dance with the Devil" versus the forced warbling of "Unknown Soldier." The main problem with the guys has always been that while everything is pulled off capably, there isn't always much to distinguish them from the rest of the post-grunge/alt-metal pack or really, each of their songs from one another. But what Breaking Benjamin lack in distinctiveness, they make up in a certain charm that makes them 100 times more appealing than most of their testosterone-clogged peers. Phobia will not win over any skeptics still holding out on the band, but for those already happily settled in the Benjamin camp, it makes for another satisfying listen. ~ Corey Apar, All Music Guide
What The Critics Say
On We Are Not Alone, Breaking Benjamin's sophomore effort for Hollywood, the Philadelphia quartet still enjoys coursing the downcast dynamics and dour cerebrals of early Tool through post-grunge's more accessible melodics. Vocalist/guitarist Ben Burnley channels Maynard James Keenan throughout "So Cold" and "Simple Design," and fills their shadows with scary roars. But the choruses are as uplifting and hopeful as anything from 3 Doors Down, and the latter even features a quiet acoustic interlude. It's this baiting of the darker mental animal while realizing the power of a cool hard rock riff that drives We Are Not Alone. "Why am I so pathetic?" asks Burnley in "Sooner or Later." "Help me break my conscience in," goes "Break My Fall," "To free us from our innocence." Both cuts stick to the familiar formula of introducing huge chords before dwelling on the personal struggle in the verses, only to surge toward hopeful choruses. In this, Breaking Benjamin is quite capable. They understand that it can't be all gloom and doom all the time -- that the people need some light at the end of the tunnel. Alone's choruses offer that urgency throughout, but "Forget It" takes it to heart. With its whispering synthesizers, layered guitar effects (Billy Corgan guests), and filtered harmonies, the cut is a warm departure from the album's bruised push forward. We Are Not Alone has its moments of genre-aping filler, and Burnley's delivery does at times seem forced -- he just sounds so much like his peers. But We Are Not Alone is still a solid second effort, with plenty of appeal for fans of groups like Crossfade, Default, and Smile Empty Soul. ~ Johnny Loftus, All Music Guide
What The Critics Say
As an alternative/hard rock band, the defining point of one's career is signing to a major label. With that said, it makes it all the more surprising that just as Lifer had begun to create a buzz on mainstream radio, guitarist Aaron Fink and bassist Mark James Klepaski quit in order to join Breaking Benjamin. Whether they saw something special in this independent band or were just sick of their former band's career decisions is unknown, but Breaking Benjamin went on to sign to Hollywood Records, and Saturate has serious potential to become one of 2002's most successful debuts, as although it is repetitive and generic, it is undeniably addictive. Molding hard rock in the vein of Nickelback with the more aggressive side of Korn, Saturate is accessible and slightly heavier than much music suitable for excessive radio play, yet allows the listener to identify with the themes present on the disc. Breaking Benjamin still follows the formulaic pattern of most every hard rock group since the mid-'90s -- the music is hard to resist. The only noticeable dilemma apparent here is that the album drags once it hits "Next to Nothing" and never quite picks back up. Those who enjoyed Lifer certainly should like the rock offered here, and this album should fit in well with other modern rock releases of the here today/gone tomorrow variety. ~ Jason D. Taylor, All Music Guide
