Duff McKagan's Loaded - The Taking

Back in 2001, when Loaded released their debut album 'Dark Days', it was always bizarrely referred to as a punk rock album. There were a few punkier songs on there, but they were mainly re-recordings of songs originally recorded for Duff McKagan's cancelled solo album 'Beautiful Disease'. The songs unique to 'Dark Days' were difficult to categorise, but with their dark themes and atmospherics they seemed closer to goth rock than punk rock. All in all, though, the album sounded like they were searching for a sound.
With 2008 and 2009's 'Wasted Heart EP', and full-length album 'Sick' a lot of the darker themes stayed but the dark atmospheric sound gave way to a commercial sheen. This isn't a criticism, as 'Sick' sounded more like a cohesive album, with a band that knew their strengths and had finally found the sound they were looking for before. It was ultimately my favourite album of 2009.

Just two years later, and with legendary producer Terry Date at the helm, Loaded have released their heaviest album yet. Duff has spoken about how people have remarked at this album sounding "more Seattle" than the previous ones, and they're right. This album sounds much more like what the world at large expects when they think of "Seattle music". Right off from the opening track 'Lords Of Abaddon', Duff, Mike, Jeff and Isaac make their mission perfectly clear. They are here to crush your skull. The riff is relentless, whilst Duff shouts down the microphone about the evils of corporate greed (explain that one on your corporate sponsored tour, guys).
The next song is a re-recording of 'Executioner's Song', previously only available on the 'Wasted Heart EP'. I didn't like the idea of them re-doing a song that's already available right up until the moment that I heard it. It was already the heaviest song in their catalogue, but this time with Isaac's incredible Grohl-esque drumming, and Terry Date's trademark production it bursts from the speakers in a way that it never has before. With no offence to Geoff Reading and Martin Feveyear, this is the definitive version of the song. This song leads into the single 'Dead Skin' and anthemic almost Foo Fighters-ish 'We Win' which serve to tone things down a little before three tracks - 'Easier Lying', 'She's An Anchor', and 'Indian Summer' - which revert back to the more commercial style of 'Sick'. Of these only 'She's An Anchor' is a misstep, not because of any songwriting, but because the vocals somehow manage to depower the guitars throughout. It's really strange that the album all seems to have a unified mix where the vocals and guitar are pretty much on equal footing, except this one song. It's a shame, because it could have been one of the highlights of the album.
'Wrecking Ball' segues from the more commercial sound of the previous songs back into a heavier bridge with Ozzy-alike backing vocals, which leads perfectly into the final four songs that remind you of the renewed vigour they opened the album with. 'King Of The World' is a fast-paced song that I feel in the verses is the closest to punk rock that Loaded have gotten since they re-recorded Duff's 'Seattlehead'. 'Cocaine' deals with familiar subject matter to all fans of the band - there has to be at least one song that deals with drug abuse on each album it seems. However whereas the others have been about near-death experiences suffered due to the drug abuse, this one seems to be about the effects going cold turkey has on your body, even after years clean.
'Your Name' begins as a slow-grind with a vocal in the verse that's reminiscent of Layne Staley, which becomes a full-on rock attack by the time you get the solo and leads into 'Follow Me To Hell'. This is perhaps the most aggressive song that the band have ever recorded, and closes the album on a charge of adrenaline... even if you could replace the vocals in the verses with those of 'Fight For Your Right To Party' by The Beastie Boys and not be able to hear the difference.

One of the nicest thing about this album is that as agressive and relentless as the music gets, Duff never manages to lose the art of a catchy chorus. The production by Terry is impeccable, and I feel should really introduce the band to the world stage in a serious way. I know that it's very possible that in two years time they could come out with something that sounds completely different, but I'm going to say it anyway... it appears that Loaded have found their sound!