Superheist, the pioneers of Australian Nu Metal, hailing from Frankston Victoria have been around since 1993 before ultimately going into a state of hibernation in about 2003. The band had built up a large following through years of recording and constant touring, all that work really gaining momentum from 2000 onwards with the release of the EP 8 Miles High and then further heavy touring with the likes of Fear Factory, Sepultura and more. The band at the height of their powers left behind sold out nationwide tours, support gigs with Eminem and D12 as well as two full length albums The Prize Recruit and Identical Remote Controlled Reactions fronted by two different lead singers Rod Berger McLeod (The Prize Recruit) and Joey Biro (Identical Remote Controlled Reactions). It was at the time of getting ready to record a new album in 2003 that the vanishing of Joey Biro for a number of weeks led to the band disbanding in frustration.
Now in 2016, after a 13 year hiatus, Superheist announced they would be reforming with original members dw Norton and Drew Dedman, as well as new drummer Benny Clark and frontman Ezekiel Ox.
Superheist Mk II as they like to think of themselves sounds like a fusing of a few separate bands I’ve listened to over the years, at times like Rage Against the Machine – Aussie style, also think early years Linkin Park and there are at times hint of Faith No More.
I had missed these guys first time around and am now really sad that I did. So I was intrigued when Sentinel Daily asked me to undertake a review of the bands comeback album, Ghosts of the Social Dead. Well I can say I may have missed the original version, but with Ghosts of the Social Dead I’m certainly not missing this, the new work shouts from the rooftops that they are back and they are back with a capital “B” Bang.
This ten track offering is a particularly strong effort and has a mix of tracks with nu metal grooves like: Wolves In Your Headspace, Flick The Switch and Sweat Swing; softer but just as powerful melodic tunes Fearing Nothing, The Deepend and an acoustic ballad This Truth. However this album is mainly fist pumping and anthemic choruses welcoming you into a new era. Most songs feature strong bass, heavily distorted hook laden riffs, alternating between spoken or rap metal vocals and easy sing along clean choruses. I can easily see a number of tracks that would do well as singles, particularly Fearing Nothing, Back To Base, Running Away, and Wolves in Your Headspace.
I have listened to the album quite a bit over the past week and it has really made an impression on me. As a result I am really wishing I was able to catch them on their Don’t Call It a Comeback Tour Australian Tour Dates which cover all Capital cities except for Canberra and Darwin. The previous stories I’ve read about the power and energy at their live gigs are easily understood when you hear this cracker of an album as it would easily translate to live shows.
Ghosts of the Social Dead, produced by Jay Baumgardner (Godsmack, Drowning Pool, Bush, Evanescence, Papa Roach) and recorded at NRG Studios in Los Angeles is out on October 28. Do yourself a favour and grab a copy.