Chevelle Albums (6)
What The Critics Say
You might not expect an injection of such lighthearted fare on a Chevelle album, but it certainly is no crime. In fact, after such blistering material on 2007's Vena Sera, it almost seemed proper to tackle less weighty subjects such as apparitions, conspiracy theories, and erratic sleeping conditions. Sci-Fi Crimes, the hard rock trio's fifth album, isn't so much a change of pace as it is a change in source material from which to draw the group's fiercely dynamic sound. Experiences in the lives of the band made it easy for lead man Pete Loeffler to boldly go in a new direction with his songwriting. Take "Highland's Apparition," for instance, which is based on a spooky occurrence at a haunted house, or "Roswell's Spell," inspired by a visit to the UFO Museum in New Mexico. Other songs are less off the wall and more right on target. First single "Jars" explores the down side of "going green" in typical Chevelle style. "Letter from a Thief" is perhaps the most personal tale on the album, written about an incident when the band's equipment was stolen during a tour stop. Let's just say the experience hasn't yet been forgiven and forgotten. This is most certainly the same band that draws frequent comparisons to Tool, with its crunchy guitar attack and Loeffler's unforgettable vocal delivery. But it's their ability to pull off such flippant tales with their characteristic punch that gives Sci-Fi Crimes a humanizing appeal not found on their previous records. ~ Jared Johnson, All Music Guide
What The Critics Say
Despite Chevelle undergoing its first lineup change since the mid-'90s (trading out bassist brother Joe Loeffler for brother-in-law Dean Bernardini), not much else has been drastically altered in camp Chevelle. The loud/soft dynamic and angst-fueled vocals that nod heavily towards Tool, and which have always been the group's trademark, arrive in full force on their fourth album Vena Sera, but it's not enough to make the proceedings any more interesting than anything they've recorded in the past. Every song seems to be set up in the exact same manner; guitars lurch forward, diminish and eventually swell into choruses where Pete Loeffler's emotional vocals (ranging from shrieks to tuneful cries) take center-stage over a backdrop of steady yet dense rhythms. "Brainiac" and especially "Midnight to Midnight" take a noticeably heavier angle, the latter song running on a nice urgency that so many of Chevelle's other songs lack, instead choosing to lumber along in a murky sense of despair. First single "Well Enough Alone" emotes and then emotes in that way so perfect for the airwaves, and though it's a decent song -- the opening shriek is especially nice -- it more so highlights the frustrating aspect of Vena Sera. The album is good enough, but too much of it simply sounds like rewrites of songs from the band's past. "I Get It" has a relatively lighter underbelly than the rest, which is a nice change of pace, but it's ultimately too little, too late. However, Vena Sera probably won't disappoint fans, if for the sole fact that it basically sounds just like Chevelle's other albums, so that if they liked those, they'll like this one. But anyone looking for a little more, well, they'll be left looking. ~ Corey Apar, All Music Guide
'This Type of Thinking (Could Do Us In)'
Release Date 9/21/2004
Tracks 11
Label Epic
See Album Tracklist and Review
What The Critics Say
Chevelle's 1999 debut delighted in darkening the spaces between quiet and jagged scrawl. Peter Loeffler's guitar periodically tore away from the rhythm section's steadying wires, effectively lessening the brotherly trio's reliance on old Tool albums for influence and pace. Then the boys signed with Epic, which naturally trashed the majority of the interesting noise in favor of amplifying Chevelle's Tool-light tendencies. Hit singles followed ("The Red," "Send the Pain Below"), so you can't fully fault the label. Not surprisingly, it's that same sound trudging determinedly through This Type of Thinking (Could Do Us In). "Get Some" and "Vitamin R (Leading Us Along)" switch on a gravelly guitar conveyor, powering it with plodding bass and percussion, and Loeffler sings with hurt urgency over it, sounding exactly like Maynard Keenan, down to the very inflection. Typical phrases singe the ends of his wrangling power-chord punctuations -- "A black out/Touching new life," "The panic makes remorse." The songs are strong dynamically, even if they sound a bit predetermined for general loud rock acceptance. The same goes for the majority of This Type of Thinking. "Panic Prone" is a departure, revisiting the softer contours of "Send the Pain," and "Another Know It All" lets the rhythm section mix it up a little, even if it makes Chevelle sound like Korn instead of Tool. In general, This Type of Thinking should roundly please fans of Wonder What's Next. ~ Johnny Loftus, All Music Guide
What The Critics Say
The title of the sophomore Chevelle disc is actually an apt question, as those following the group through the Chicago underground pondered what group would do on a sophomore disc that came with major-label backing and a move from noise-mensch Steve Albini to star-maker Garth Richardson at the production helm. However, any concerns they might have had are quickly allayed and, by the time the disc is over, forgotten about completely. The trio still reminds you of Tool, but unlike the cloning taking place by the unskilled likes of Earshot, Chevelle take the best part of Tool -- the melodrama and occasional nods to Maynard Keenan's vocal style -- and remove the pretension that the prog-metallers are often found to be indulging in. Chevelle than apply what is left within an indie rock mindset that comes through in spite of the slick production that, try as it might, doesn't allow Wonder What's Next to mimic what's on the radio. This doesn't mean that the disc is lacking good songs; quite the opposite, actually: "The Red," the first single, is a pulsating, emotional track built around a nifty bass riff and an excellent chorus; "Comfortable Liar" settles nicely into a post-Sabbath chug complete with superb percussion, and "Closure" is a power ballad that arm-wrestles between power and ballad with no clear winner, save for the listener. Chevelle managed to retain its credibility yet still put out 11 tracks that, while still catchy, offer uniqueness not often heard in more commercial fare, no mean feat. ~ Brian O'Neill, All Music Guide
What The Critics Say
Chevelle's debut, Point #1, finds them collaborating with producer Steve Albini to create forceful, mercurial indie rock. Dynamic rhythms and melodies predominate on the album, and songs like "Open," "Dos," and "Blank Earth" combine delicate interludes with blasts of noise. In line with Chicago's ambitious music scene, Chevelle's challenging take on rock is also a rewarding one. ~ Heather Phares, All Music Guide
