Album Review – The Used : Vulnerable (2012)

The Used are a band that have always been faithful to their 2002 debut self-titled album with each and every new release, from the most recent ‘Artwork’ to 2007’s hit and miss ‘Lies for the Liars’. Their newest offering, ‘Vulnerable’, attempts to combine some of the raw power from their early career with the more pop elements that have threatened to crawl into their sound over the years. The album arrives on the back of two well-received singles, ‘I Come Alive’ and ‘Hands & Faces’, which helped the album build some considerable hype from old and new fans alike, with promises being made from the band that a whole new approach on the sound of The Used would be explored. Excitement surrounded the four-piece for the first time in a number of years, but unfortunately for them, the latest album arrives with something of a whimper and not the fanfare that was perhaps expected.

‘Vulnerable’ opens with the first single, ‘I Come Alive’, a playful take on the familiar sound of the band with an added chaotic edge (especially in the verses) and the use of dubstep/drum and bass elements (which are used sparingly). It breaks the mould, but not enough for the band to sound unrecognisable, and that’s because the vocals of Bert McCracken are uniquely executed (as they always have been), full of torment and desolation. There’s a bizarre fairground streak throughout the track, which gives it a memorable atmosphere. ‘This Fire’ starts with strings and a softly sung intro, before guitars come in full force, Bert’s yells/aggressive vocals giving this track identity, as much of the rest of it feels lost. The instrumentals don’t do anything exciting, and after the second chorus everything feels disjointed. It doesn’t have the legs to last over 3 minutes, resulting in an ultimately disappointed song.

‘Hands & Faces’ begins on an interesting note, with electro sounds paired with low bass, before finding a happy medium between the band’s old sound and their more mature edge due to song writing experience, which has spanned across their back catalogue. The old school angst is gone and what has replaced isn’t that exciting, which is unfortunate. It’s not as hard-hitting as it needs to be to keep this band relevant, and if they’re not careful (especially after the lukewarm reception to last album ‘Artwork’), they won’t get many more chances. It’s difficult to tell whether this band are simply growing, taking risks that aren’t paying off, or possibly not taking risks at all. ‘Put Me Out’ has a dirty lick to set the scene, before full-capacity guitars and vocals are explored, the infectious side of The Used’s music shining through. Heavy guitars jump along with passion-fuelled vocals, changing sharply from verse to chorus, ending on a breakdown section where the screamed vocals are perfectly executed.

‘Shine’ may be positive and uplifting in places, but there isn’t much substance behind the core of the song. The additional electronic elements fit well, but it just doesn’t excite, and despite the decent melodies on show, it doesn’t stand head and shoulders above the rest, and by now ‘Vulnerable’ needs a track that does that. ‘Now That You’re Dead’ is thankfully the song that does that, beginning with a grimly quiet instrumental that includes low guitar notes and voice samples before switching to a brutal punk behemoth that occasionally veers on modern hardcore metal territory, which is a bit of a shock. The screamed vocals are some of the best I’ve ever heard from Bert, and this was the first track that warranted an instant repeat listen.

‘Give Me Love’ doesn’t carry on the positive vibes, leaving a sour taste as it is utterly forgettable and can’t even be saved by a technically efficient breakdown towards the end of the song. It’s a typical and boring formula, making it feel more like an album filler than a genuinely important track. ‘Moving On’ instantly feels bigger, with a soaring chorus (“It’s safe to say that nothing lasts forever”) providing a slice of The Used that keeps them firmly in the public eye. However, the verses feel bland (much like much of the verse work on this album), following an unadventurous path.

‘Getting Over You’ returns to the passionate, heartbroken lyrics of ‘Artwork’. The Used are great at producing emotive music that aims to provoke feeling and thought which is real ‘heart on it’s sleeve’, a truly refreshing change to much of what is popular in the mainstream. This track is a slow burn, focusing heavily on melody (in a similar way to the standout ballad on ‘Artwork’, ‘Kissing You Goodbye’). Picked guitar, strings and a pulsating drumbeat combine to create a song that coasts along but doesn’t feel sluggish. ‘Kiss It Goodbye’ (sound familiar?) starts with classic nu-metal sounding guitars, kinetic beats and venomous vocals. It’s astounding at times and feeling incredibly unpredictable, building to a head with fist-pumping drums, slipping into to a brief pause before an explosion that brings the track to a close. At the end of the song, an interlude of sorts using layers of Bert’s vocals (beat-box, sung lines) arrives, feeling odd and misplaced, maybe even slightly cringe worthy. It’s certainly not needed.

‘Hurt No More’ disappoints, feeling as though the band have exhausted all avenues of creativity. It struggles to get going and is entirely underwhelming. Final track ‘Together Burning Bright’ is a ballad, bringing the lyrical emotion to the front again. It doesn’t pull off many tricks, but it’s effective at what it does. It’s not dressed up, keeping everything simple with strings, sturdy bass and Bert’s efficient vocals.

Overall, ‘Vulnerable’ is a decent record with several high points, but way too many bland and forgettable moments exist within the parts of the songs that matter. It won’t stand alongside the 2002 debut as a classic, and probably ranks down low with some of the band’s worst releases. Diehard fans of the band may be happy with what is heard here, but those looking in from the outside will be convinced that the flame of The Used is beginning to dim.