Although I remember P.O.D. from their commercial peak in the early 00’s, I had no idea that the SoCal nu-metal band had had so lengthy a career. Formed way back in 1992, the band took seven years to land a major label deal, finally releasing their Atlantic debut in 1999. However, it was 2001’s Satellite that saw the band finally hit the big-time and my recollection is that million-selling behemoth of a record was everywhere. Since then, the band have released a further five albums on a succession of different labels, but if time has eroded their record sales, it does not seem to have dented their passion and 2018 sees the band signed to the mighty Mascot Records and back with a brand-new album, circles. In all honesty, the band have not changed much over the years, but their joyous and oft-eclectic sound is so imbued in SoCal sound that this is hardly likely to dent the appeal of Circles. Like Sugar Ray, Korn and Linkin Park, P.O.D. flirt with a sun-kissed sound cross-bred with heavy riffs and hip hop with exciting results.
Opening with the rumbling bass of rockin’ with the best, the opening lyric of “I remember when this music meant something…” pretty much sums up the onslaught of imitators that emerged in the wake of Korn’s runaway success. It’s a powerful opening track, the rap elements hard-hitting in a manner reminiscent of Cyprus Hill’s Skull ‘n’ Bones outing, and it’s neatly followed by the sunny grooves of always southern California which, whilst fuelled by honest intentions, doesn’t quite ignite as it is liable to in the live environment. The title track is similarly sedate, the laid-back rap and sitting uneasily over a too-loud clean guitar that only serves to emphasise that the Dan Reed Network have being doing this sort of thing for years, and better. Things get back on track with the seething panic attack, which sounds like Beastie Boys covering insane in the brain. Heavy and yet with a cheeky sense of adventure, panic attack shows exactly why P.O.D. were able to hit those million-plus sales, and it’s easy to imagine the mosh-pit exploding to this one. Equally impressive is the scything might of on the radio which kicks off with a huge drum riff and satisfyingly chunky guitar. It cements the idea that P.O.D. are definitely at their best when hitting hard, and even the deliberately poppy chorus cannot derail the Adrenalin rush the track brings. In contrast the bizarre Fly away offers up a somewhat disappointing conclusion to the album’s first side.
The second half of the album gets back on track with the Linkin Park-esque Listening for the silence, but questionable production choices see vocal manipulation taken too far and the guitars lacking the aggression that the track initially promises. Next up, sub-bass and electronic percussion adds depth to the mid-tempo rock of Dreaming before Domino takes things in a more ska-infused direction. Heavier guitars return for the thunderous, nu-metal workout of Soundboy killa, which is undeniably thrilling with its tough-as-nails vocal delivery and gnarly riffing. Equally, final track Home has a Deftones-esque edge that works strongly in the band’s favour and brings the album to an enjoyable close.
I was not a fan of P.O.D. back when Satellite ensured their ubiquity, but the band have shown considerable commitment to their cause and, for the most part, circles is a success. The genre-hopping approach so typical of the SoCal sound is not for everyone and the band’s defiantly radio-friendly approach is likely to alienate those who prefer their metal gritty, but there are enough hard-hitting cuts nestled on the album to excite those who like their nu-metal tempered with elements of ska, hip hop and punk. That said, the album in places feels just a touch too studio, with a lot of sonic trickery used to augment the tracks in a somewhat unnatural way and it’s likely that the music will hit home far harder in the live environment. However, when the band do cut loose, they hit a powerful groove indeed. 7.5
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