Hoobastank Albums (4)
What The Critics Say
The parenthetical "n" in the title of For(n)ever isn't merely a piece of clever typography, it's an indication of what Hoobastank's fourth album is all about, for For(n)ever is tied together by the notion that nothing lasts forever...or more precisely, whatever relationship singer Doug Robb just finished sure didn't last forever. For(n)ever is a breakup album at its purest, teeming with regret, anger, and recriminations but little guilt, as there's little question that Robb believes he's the wronged party. He finds incriminating letters tucked away behind the bed, discovers that "[The] more you speak/The less I care about you," wonders "Who the Hell Am I?" now that the relationship has sputtered to a halt. Despite this barrage of invective, it's strangely reassuring hearing the oft-preprogrammed Hoobastank break free from their constraints. Prior to this, they seemed more concerned with airplay than emotion, so it's nice to see their human side slip through. ~ Stephen Thomas Erlewine, All Music Guide
'Every Man for Himself'
Release Date 5/8/2006
Tracks 14
Label Universal
See Album Tracklist and Review
What The Critics Say
Hoobastank once and forever banished any lingering doubts that they were a bunch of Bonnaroo hippies, à la Ekoostik Hookah, with their 2003 sophomore effort, The Reason, a strident collection of loud, angsty rockers that sounded as if it could have come out in the twilight days of post-grunge in 1997/1998. Not catchy or bratty enough to truly be pigeonholed as punk-pop and way too big and slick to be emo, they were a straight-up, hard-edged alt-rock band, only without any suggestion of being outsiders, either in their sound or intent. They were anthemic, and nowhere more so than on the power ballad title track, which became a smash in 2004, climbing all the way to number two on the Billboard Hot 100. Two years after that, Hoobastank delivered Every Man for Himself, their third album and their first as bona fide rock stars, and it sure sounds like the work of a band that's now established: it's slick and stylish, big and bright, designed for arenas and as bumper music on both MTV and VH1. Bassist Markku Lappalaninen may have left the fold, but his absence is not the reason for the slight changes in their sound; he would not be the one to polish the production, to add the strings, or to add a heavy dose of Franz Ferdinand-styled disco-rock, either. These are all things that the remaining three -- vocalist Douglas Robb, guitarist Dan Estrin, and drummer Chris Hesse -- along with returning producer Howard Benson brought to the table, and the result is a record that sounds a little more colorful and a little more appropriate than its two predecessors, which tended to be slightly monotonous and dull. The proliferation of keyboards, strings, acoustic guitars, and even horns gives this some welcome sonic variety, which helps balance the plodding sincerity of the group's grinding guitars and Robb's ham-fisted lyrics ("I am not the next of them/I am the first of me"). And since Hoobastank is about the overall sound instead of the specifics of the song or performances, it is good that there is more happening on the surface, since it makes the album coherent and easier to digest. But even if Every Man for Himself was constructed with the mainstream in mind, it likely won't win any new converts. [Every Man for Himself was released with two separate covers presenting the same artwork in different colors (à la Split Enz with True Colours: there is a green variation of the front-cover fingerprint and a red variation).] ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
For The Reason, those nice suburban Californians in Hoobastank refine and shade in the concentric circles of their self-titled debut, but stay safely within its platinum figure eight. "Crawling in the Dark" was the contoured heart of that album. Its combination of enormous rock chorus and elastic dreamboat vocals made Hoobastank stars and established their sound -- not original, but firmly rooted in the rousing voice of Doug Robb and guitarist Dan Estrin's slick post-grunge concoctions. Despite the usual pressure to produce another "Crawling," the songwriting duo seems to have largely been left alone for The Reason. Naturally, the presence of boffo big producer Howard Benson ensures the album's impeccable sonic accessibility. Robb's voice breaks at just the right time and for maximum emotional resonance, while the music ebbs and flows effortlessly between aggressive rockers and more introspective material. But for the most part, what you hear is what you get. Strings do pop up on a few songs, and here and there the harmonies seem too rich for reality. But these additional elements never overshadow the foursome's work. The strings punch up "Lucky"'s already uplifting chorus (the acoustic verses are a nice touch, too), while they're a lush bed of down pillows for the somewhat sappy title track. It's not that Robb's words throughout The Reason aren't genuine. Lyrics like "I'm not a perfect person, I never meant to do those things to you," "So what should I do, just lay next to you as though I'm unaffected?," and "There has to be somewhere that we can be safe from the lives we live each day" are delivered with real feeling. However, Hoobastank is still reducing teen angst (over love, escape, or a higher power) to digestible phrases, and writing sandpaper smooth rock symphonies around those couplets. So it's a formula, and one that remains unchanged from the debut. But Robb, Estrin, bassist Markku Lappalainen, and drummer Chris Hesse are a better band now -- endless touring will do that. "Same Direction" and "Just One" are standout anthems, raucous and righteous all at once. Lead single "Out of Control" lets Robb and Estrin shriek and shred with some reckless (yet still melodic and ready for radio) aggression. Meanwhile, the other, softer side of the band is represented best by "What Happened to Us?" and the drifting departure "Disappear," which both unfold as much more focused versions of Hoobastank's sometimes clunky attempts at nuance (think "To Be With You"). In the end, The Reason is really a better version of Hoobastank, written and played by more mature versions of Hoobastank. ~ Johnny Loftus, All Music Guide
What The Critics Say
The debut album from this California-based quartet is likeable, turn-of-the-century modern rock played with little style, but youthful enthusiasm. Nothing here's gonna change the world, but the fact that these guys don't seem inclined toward filling any agenda or catering to a specific audience is promising. It's no-frills rock & roll with occasional power melodies taking charge. ~ Michael Gallucci, All Music Guide
