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Release Date: October 3, 2006 Label: Atlantic/Wea Related Sites: · Official Site Grade: B

Panheads everywhere will rejoice over the release of Skillet's seventh album, "Comatose". Far from falling into a stupor, this band from Memphis, Tennessee continues to flex its metal muscle, while sporting a new melodic versatility that should increase their crossover appeal. They play with a lot of energy and focus on a modern alternative sound, with splashes of grunge, though they seem to have largely left their industrial stage behind. There's a subtle shift away from "Christian terminology" with this release, yet their faith-inspired themes are relevant to a broader audience.

The album opens with the hard rock "Rebirthing," a song that's already climbed to the top of the Radio & Records Christian Rock National Airplay© chart. It has a deceptively calm beginning, with violins that are soon joined by pounding drums and driving guitars. Husband and wife John and Korey Cooper trade lines in chorus in a journey from paralyzing despair to new life in Christ: "I lie here paralytic/Inside this soul/Screaming for you till my throat is numb/I wanna break out/I need a way out/I don’t believe that it’s gotta be this way/The worst is the waiting/In this womb I’m suffocating/Feel your presence filling up my lungs with oxygen/I take you in/I’ve died/Rebirthing now".

Skillet is (left to right): Korey Cooper (Keys/Vocals), Ben Kasaica (Guitar), John Cooper (Vocals/Bass), and Lori Peters (Drums). [photo by Jeff Gros]

The Coopers also trade lines in "The Last Night", to greater effect. This one starts out very much like an Evanescence tune with piano, then the guitar riff hits you like a sonic brick. John sings, "You come to me with your scars on your wrist/you tell me this will be the last night feeling like this" and Korey counters with, "I just came to say goodbye/I didn’t want you to see me cry, I’m fine," to which John replies, "But I know it’s a lie." It's a powerful song that counters suicidal considerations with God's unconditional love ("The night is so long when everything’s wrong/If you give me a chance I will help you hold on/I won’t let you say goodbye and I’ll be your reason why/The last night away from me"). I understand showing that the person has little or no parental support ("your parents say everything is your fault/But they don’t know you like I know you/they don't know you at all/I’m so sick of when they say/It's just a phase, you'll be o.k. you're fine/But I know it's a lie") but it also kind of comes across as a subversion of authority figures, no matter how abusive.

A frequent topic reoccurring throughout "Comatose" is the fear of loneliness. Just search for the word "alone" in the lyrics and you'll come across "don’t leave me alone" ("Comatose"), "tonight I’m so alone" ("Falling Inside the Black"), "I’m left alone somehow" ("Say Goodbye"), and "walk this world alone" ("Looking For Angels"), with reassurances that "this is the last night you’ll spend alone" ("The Last Night"). The most convincing encouragement comes from "Whispers", a driving rock track written from God's perspective to us: "you'll never be alone/when darkness comes I'll light the night with stars/hear my whispers in the dark".

"Better Than Drugs" features gritty guitars and uses drugs as a metaphor for Christ. Despite being a great title, this problematic premise reminded me of the controversy that surrounded Carmen over a decade ago when he released his album titled, "Addicted to Jesus". Addiction is often seen as an unhealthy compulsion -- not quite the message the artist was trying to get across. Skillet admirably finds salvation from despondency ("You clear my mind/You’re my escape from this messed up place/‘Cause you let me forget/You numb my pain") by turning to God ("You’re my addiction, my prescription, my antidote") then equates that experience to an alcoholic buzz ("You’re better than drugs/Your love is like wine/Feel you comin’ on so fast/Feel you comin’ to get me high/Addicted for life"). Still, it's a daring pronouncement of how God's love can affect us.

The song that blew me away was the album's closer, "Looking for Angels". The poetic spoken-word track pours out the problems of the world ("All the faces are filled with so much anger/Losing our dignity and hope from fear of danger/After all the wars, after settling the scores, at the break of dawn we will be deaf to the answers"), concluding with a challenge for all of us to bring hope in the midst of suffering:

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We represent a generation that wants to turn back a nation
To let love be our light and salvation
(We need it we need, we need more than this)
I became a savior to some kids I’ll never meet
Sent a check in the mail to buy them something to eat
What will you do to make a difference, to make a change?

What will you do to help someone along the way?
Just a touch, a smile as you turn the other cheek
Pray for your enemies, humble yourself, love’s staring back at me
In the midst of the most painful faces
Angels show up in the strangest of places

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The sung chorus sounds stylistically similar to P.O.D.'s "Goodbye for Now" (and a quick check of the credits confirmed that this album was indeed mixed by Chris Lord-Alge, who has worked with P.O.D.). John Cooper wrote or co-wrote all the songs and shows an evolving maturity, particular on the reflective "The Older I Get" that speaks of healing the wounds of regret over a broken relationship. There's definitely musical experimentation going on, with territory explored including intertwining orchestral strings and guitars ("Comatose"), a piano-driven power ballad ("Say Goodbye"), mid-tempo acoustic ("Yours to Hold") and prominent guitar soloing ("Whispers" and "Falling Inside the Black"). "Those Nights" takes on a Relient K pop/punk vibe and is a memorable ode to late-night talks that assist friends in getting through rough times.

So, Panheads and less-fervent fans alike will find something to enjoy on "Comatose". It's essentially the same sound that permeated their last release, "Collide", with its touches of progressive rock and strong riffs. New to the stage, however, are more pop oriented elements like the use of piano, as well as the addition of female vocals and the smoothing out of John's trademark scratchy vocals. Prolonged unconsciousness is not what you'll experience when you give this disc a spin.