Track listing
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songwriter
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lyrics, music
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lyrics, music
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- Total length: 47:00
Rate/Catalog
Catalog
Review
To rate, slide your finger across the stars from left to right.
10 Issues
- Release view [combined information for all issues]
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The Sickness [p]
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The Sickness Censored
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The Sickness Bonus Tracks
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2002 CD
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The Sickness Bonus Tracks
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The Sickness Bonus Tracks, Limited Edition, Remastered
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The Sickness 10th Anniversary Edition 33 rpm, Bonus Tracks, Colored Vinyl, Gatefold, Limited Edition
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139 Reviews
I dont think i ever wanted to punch my past self so badly before. This is like the epitome of bad taste when it comes to metal, but honestly i can still see why i enjoyed listening to Disturbed so much a mere couple of years ago. They sure know how to make catchy hooks and at the same time place a pretty badass (for a teenager) aethetics over it. Of course this doesnt excuse the downright terrible vocals going ape from time to time, and the sheer stupidity of some of these lyrics. The sort of meathead riffs and lame badass attitude dont help it either. When i listen to it nowadays it sure doesnt sounds as great as it sounded in my teens when i was discovering metal through the worst route possible (nu-metal and post grunge were really the genres which i enjoyed the most back then), but at the same i cant really say i truely hate this. I guess the amount of nostalgia i have which i associate with this album is far too great. And it does make for a fun listen for the wrong motives i guess ("droppin plates" is one of the most unintentionally funny songs of all time). The bridge on "Down with the Sickness" still stands as one of the worst ideas in music i have ever heard.
Published
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1
Voices
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2
The Game
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3
Stupify
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4
Down With the Sickness
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5
Violence Fetish
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6
Fear
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7
Numb
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8
Want
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9
Conflict
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10
Shout 2000
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11
Droppin' Plates
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12
Meaning of Life
"Voices" features the singer tries to do this Maynard James Keenan type vocal, only with a side dish of Scatman in the "eh ne ne ne ne ne DIE! Eh ne ne ne ne ne ne DIE!" He tells us he's gonna show us some freaky shit now, ski-bi-bop-ba-doo-bop-scooby-dooby-doo.
"The Game" has an intro that sounds like the Killers a few years early and some barking-type vocals, but that's about all that's funny about it. It's basically a terrible Tool song. I wish it had stayed as Metal Mr. Brightside.
"Stupify" was apparently the album's lead single, features this stupid recited bit at the beginning about how this is "anotha DISTOIBED creation" (note: he doesn't actually pronounce it "distoibed," but I wish he did). This is the one where singer goes HOCK! HOCK! HOCK! HOCK! and LIVEANDDIVEANDDIE and ARE YA STUPID, BOIIII? ARE YA STUPID, BOIIII? and the guitars go durt durt durt, durt durt durt, durt durt durt, DURT DURT DURT. All the people in the hi-rise AWK! All the people in the projects AWK! Unfortunately, the AWK! joke runs out pretty soon, and all you're left with is mindless foolishness. Okay, I lied to you. The Indian bridge is hilarious. These guys really want to be Tool, don't they?
"Down With the Sickness" is of the classics as far as horrible metal is concerned. There's that stupid intro, with the pounding drums, where singer whispers "can you feel this?" and "oh, shit" and of course there's "A-WOO, AH AH AH AH!" because apparently that's what cool people do and there are narmalicious lyrics like "You've woken up the DEMON IN ME!!!" and pinch harmonics that sound just as stupid as any other pinch harmonics but have the added bonus of sounding like they were thrown in there by accident. Singer's decision to switch between Maynard-voice and raging screamy voice is a horrifically jarring attempt at the self-duet, but nothing, and I mean NOTHING, can beat that amazing monologue. And yet another "atmospheric' bridge! Aw shit, I can feel this. Comedy metal, right? These fellers make Pantera look like Opeth. But on the other hand, if you're the kind of moron who makes frag videos or likes to sync clips from 300 up with "badass manly-ass metal," this is your ticket.
"Violence Fetish" allows the guitarist to be funny with one of the most pathetic attempts at a coherent guitar part I've ever heard. He tries to mix generic chorused "atmospheric" shit with distorted piles of METAL and more clumsy pinch harmonics. It doesn't work very well. And do they seriously sing "how did you think of your penguin games?" They do mention game faces, because it's time for some SPORTS, I guess.
"Fear" is probably the jewel in this album's crown. It starts off with a synthesizer part that tries at once to be a contemporary R&B makeout song and a generic "the aaaaaaliens are coming!"-type thing. Then you get "FEAR SOMETHING AGAIN! HA! HA! HA! HA! HA! HA! HA! HA! HA! HA! HA!" and "I won't let them hy-hy-hy-hy-hy-hy-hy-hy-hyp-no-tize me" and "I-don't-un-der-stand-why-you-don't-like-me, stand BACK lemme take your..." all while singer-dude's voice cracks like he's going through puberty. Is this supposed to be badass? Like, am I supposed to be intimidated by these guys or something? Well, it's not working.
"Numb" is just a dull slog. After four consecutive songs of many lulz, it hits me with this slow, grinding dirge with the world's laziest dynamic shifts. It basically sounds like "Wherever I May Roam" if it was a shit song rather than a mediocre one, so I'll just pass it by.
"Want" gets us back on the right track. "She waaaant meeeee.... NOT! RAH! AH! RAH! AH! RAH! AH! RAH! AH!" Then the funny stuff stops.
"Conflict" brings it back, though! You get this E, e, e, e... eh, eh, eh, ehehehehe... YOU ARE MY HAY-TED E-NE-MY! HERE I AM! E-NE-MY! NUM-BER ONE RAY-TED E-NE-MY! I'M A LABEL, E-NE-MY! I AM YOUR MORTAL E-NE-MY! LA DA BLAH GRAH BLAH E-NE-MY! OW! OW! GET YOUR FATHER'S SONG ENEMY ENEMY ENEMY OW OW OW ENEMY OW OW ENEMY OW OW ENEMY OW OW ENEMY OW OW ENEMY OW OW ENEMY ENEMY I MUST MY PEOPLE'S E-NE-MY..." it's great. I love that kind of lazy songwriting! I also love "AH BLAH BADO DE DO ENEMY!" and "YOU TRY TO TELL ME THAT YOU LOVE LIIIIFE! I'VE FOUND ANOTHA WAY TO KIIIILL!" Like many a weak metal band, Disturbed forgets that if you emphasize everything, nothing is emphasized. Oh, by the way? By the way? By the way? KIIII-YO!
"Shout" is a Tears for Fears cover. Apparently this band covers '80s songs all nu metal like. Have I ever told you how much I hate this recent "cover '80s pop songs in a non-'80s way because that's ironic and funny" trend? Because I do.
"Droppin' Plates" has become the subject of a joke between a friend and I. We were doin' our best to figure out what the hell "droppin' plates" was supposed to mean, and we concluded it was about beating someone in an argument, so now we use the term "droppin' plates" to describe such a process. All I know about the song itself is that it's funny... it's got the usual generic squiggly sci-fi synths (nine times out of ten, synthesizers suck in metal) and this awesome talkbox that blows and rapping on top of the hilarity of "DROPPIN' PLATES ON YOUR ASS, BITCH!" But now I know that if I ever want plates on my ass, I just gotta call Disturbed-guy and he'll drop them, free of charge! Music is his weapon! Wee!
"Meaning of Life" goes GET... GET... GET PSYCHO! GET... GET... I WAN-NA-GET-PSYCHO!" with really shitty trance beats. Hey, is this proto-Enter Shikari? Those guys blow, too! Wheeeeeeeee!!!!
In conclusion, this is why stuff that's just meant to be moshed to sucks. Yeah, you can collide with a bunch of morons in a mosh pit to it, but if you sacrifice your dignity as thoroughly as Disturbed do here, what's the good of it? At least the metal fandom will agree with me when I say these guys suck. Why they don't see the same in Immolation or Deimilich, I'll never understand.
Published
Living and growing up in England allows me to have a very different perspective to imported trends that seem to come from our stroppy younger brother who overtook us in height during a pubescent growth spurt that now thinks he is the God of fuck-everything from manufacturing mundane sandbox videogames to giving every Disney villain in existence an accent that is slightly "foreign".
Whilst even Aladdin has a US accent regardless of his Arabic heritage.
Not an unbiased view as such, but one where I can point and stare at people inexplicably while chucking absolute horseshit about politics and scream "ARCHER! LEADER OF THE GORGONITES!!!" while I have no hindsight and just compensate for my fear of the new girth of the penis.
The Nu-Metal ejaculation of the 90s was originally an American thing that was overlooked by the general British population thanks to the whole of Europe cushioning us with a big fluffy pillow of bitter hate from the general snazziness and poshness that we exude like a skunk glazed pork scratchings. While the US were splitting the musical atoms of metal and hip hop and telling their mutated children to have endless blowies with the blow-up dolls of hot-dog-water-nookies, the UK were far too busy watching Blur and Oasis try and suck each other off before the next copycat group comes along to remove their knickers in an all new exclusive on The Sun's page 3. We had no time for this Nu-Metal shiz, and other than Limp Bizkit briefly getting a feeble chart smooch in Top of the Pops we weren't really interested in the babblings of a scat singing reggae Caucasian who wants to have sex with a Reebok brand shoe.
Yep, everything was fine for many years. Of course this is if you ignore the general time capsule effect of non-non-conformist secondary school children who decide to wear their ties in a slightly ass-symmetrical fashion to piss off that caretaker who was called Mr. Woof.
You see, listening to stuff like Disturbed in an English secondary school doesn't come with any social acceptance or cool points. In fact I can assure you that in 2006 when I first ever saw that bald ensemble cover that one crappy commercialised Genesis song I thought little of it, having a constipated vocal line with slightly crunchy guitars is nothing new nor anything that irritatingly armpit screwing. If I asked anyone about the group I would acquire so much experience from the blank expressions that I probably could have leveled up enough to kill the dark aeons by breaking wind on a cotton buddy and skillfully placing it in their ear.
It took me a few days however to finally be approached by a stubby little looking boy who seemed to suffer from a slight facial tick and wore one of those zebra spot armbands that make you deep and musical, possibly due to the fact that black and white things are multi-cultural (which I would question but Lancashire is as multi-cultural as the queue to a fish and chip shop on a tuesday afternoon). He told me that Disturbed were the best Heavy Metal band in all time (yes "in all time") and that if I were to ever follow a true path away from pop-is-the-shit-of-your-Uncle-Jim salvation then I ought to take this album from his pudgy little hands, burn it and then return it back to him.
Although at this point I never got the hang of burning CDs and I forgot to return things people gave me more than I bought coke cans for the uninflated price of 42p. So I still have it in my possession, but what do I think of this?
I actually reviewed this on Amazon almost three years ago under a different screen name and felt the need to justify why I didn't like it to the masses that overrated this to high marijuana-encrusted-sardine-pizza. On the other hand this site is the nerd that scrutinises an artist for sniffing in the wrong direction and underrates anything with the slightest popularity so long as it is out of the-erratic-irony-hipster-equation (or TEIHE for short, which kind of sounds like a cockney laugh) so in this review I will be sure to justify why this album isn't as bad as people make it out to be.
As many popular and mainstream-wise successful albums go, this album has a formula. It's not exactly a complex one, but it may require you to blink a few times to understand.
Almost every song contains:
1. Thick toned guitar riffs. (the guitar tone is consistent and never changes, the red sea will retract back into the mistress in the sky before they decide to use a different guitar tone).
2. Vocals that kind of sound like the fusion of a tough guy who works in Dixons and a Gibbon from the rainforest. (ooh-wah-ah-ah-ah)
These are the general premise of the textural components, I mean yeah there's some drums and some bass and even a few plinky plonky synth sounds but they may as well not exist for the most part. The verses are all about the guitar and vocals cumming all over eachother with a ning nang of pseudo-political (Stupify) and just plain nonsensical (Droppin' Plates) lyrics that seem successful in pissing off people that take things to seriously. I mean if someone is going to be literal and laugh at how shit Droppin' Plates message is well then they've succeeded because comedic tracks are meant to have shitty messages to begin with, but I guess taking it seriously will make people feel smug when they yank it into their testicles as a long lost pine cone lover.
For the most part this does sound average, but there are a fair few parts where this really shines. The choruses are genuinely catchy on almost every other song, even if they had the stupidest idea to throw their "let's make a shittier less sincere version of Korn" song as one of their main singles they still have a shitload of yum under the filler. I could listen to Voices a lot of times and the melismatic bridge on Stupify is actually pretty damn cerl to listen to. Like many albums the bottom end can seem a little samey after hearing the same thing over and over again, but thanks to the songs being relatively short and the guitar sound being identical in every single song you won't even notice you're listening to a new song and can rejoice at realising your favourite part of that one song was actually a whole song in itself but it just wasn't obvious at all.
Either way...the choruses completely outshine everything Disturbed do on the album, it is one of the things that allow a Nu-Metal band avoid being disposable toilet paper in a Texaco residing in Hull. But the more I listen the more comfortable I am with their choruses and I understand why some people really latch onto them. They manage to very successfully create a junk food style of Nu-Metal that will keep the fat, odourless carbon monoxide lickers coming back for more whilst leaving the arty snobs away from the insider joke that they'll never understand and thus will shout and scream about it and complain that they MUST like their stuff more because it's more clever and only the hobo at the bus stop has ever even heard of them.
All in all, nowhere near the best in the genre but a real keeper for people who aren't too picky about what they listen to when it comes to listening to things that you know your friends can dance to regardless of the fact that they just listen to Supertramp all day long. It's also not the most virtuosic in their catalogue guitar-wise, but it is what it is man; it's broke to some but others don't see a reason to fix a broken kettle when it works fine so long as you don't approach it with a knife. The fact that they can make money from using a nigh on identical formula on every album is admirable, but not something that would refrain me from wondering what it is like to bongo drum the lead singers head.
Well imagine it nonetheless, I'm not that brave.
It ain't for me really but I'd play a few of the singles in moderation MAYBE. I think this a band where you will either love and buy all albums, hate and buy no albums, or buy that one album and feel indifferent about the whole thing therefore forgetting it's there and playing another round of Yu-Gi-Oh with that bloke down the road. I will kindly refrain from dropping plates on female dogs though.
Whilst even Aladdin has a US accent regardless of his Arabic heritage.
Not an unbiased view as such, but one where I can point and stare at people inexplicably while chucking absolute horseshit about politics and scream "ARCHER! LEADER OF THE GORGONITES!!!" while I have no hindsight and just compensate for my fear of the new girth of the penis.
The Nu-Metal ejaculation of the 90s was originally an American thing that was overlooked by the general British population thanks to the whole of Europe cushioning us with a big fluffy pillow of bitter hate from the general snazziness and poshness that we exude like a skunk glazed pork scratchings. While the US were splitting the musical atoms of metal and hip hop and telling their mutated children to have endless blowies with the blow-up dolls of hot-dog-water-nookies, the UK were far too busy watching Blur and Oasis try and suck each other off before the next copycat group comes along to remove their knickers in an all new exclusive on The Sun's page 3. We had no time for this Nu-Metal shiz, and other than Limp Bizkit briefly getting a feeble chart smooch in Top of the Pops we weren't really interested in the babblings of a scat singing reggae Caucasian who wants to have sex with a Reebok brand shoe.
Yep, everything was fine for many years. Of course this is if you ignore the general time capsule effect of non-non-conformist secondary school children who decide to wear their ties in a slightly ass-symmetrical fashion to piss off that caretaker who was called Mr. Woof.
You see, listening to stuff like Disturbed in an English secondary school doesn't come with any social acceptance or cool points. In fact I can assure you that in 2006 when I first ever saw that bald ensemble cover that one crappy commercialised Genesis song I thought little of it, having a constipated vocal line with slightly crunchy guitars is nothing new nor anything that irritatingly armpit screwing. If I asked anyone about the group I would acquire so much experience from the blank expressions that I probably could have leveled up enough to kill the dark aeons by breaking wind on a cotton buddy and skillfully placing it in their ear.
It took me a few days however to finally be approached by a stubby little looking boy who seemed to suffer from a slight facial tick and wore one of those zebra spot armbands that make you deep and musical, possibly due to the fact that black and white things are multi-cultural (which I would question but Lancashire is as multi-cultural as the queue to a fish and chip shop on a tuesday afternoon). He told me that Disturbed were the best Heavy Metal band in all time (yes "in all time") and that if I were to ever follow a true path away from pop-is-the-shit-of-your-Uncle-Jim salvation then I ought to take this album from his pudgy little hands, burn it and then return it back to him.
Although at this point I never got the hang of burning CDs and I forgot to return things people gave me more than I bought coke cans for the uninflated price of 42p. So I still have it in my possession, but what do I think of this?
I actually reviewed this on Amazon almost three years ago under a different screen name and felt the need to justify why I didn't like it to the masses that overrated this to high marijuana-encrusted-sardine-pizza. On the other hand this site is the nerd that scrutinises an artist for sniffing in the wrong direction and underrates anything with the slightest popularity so long as it is out of the-erratic-irony-hipster-equation (or TEIHE for short, which kind of sounds like a cockney laugh) so in this review I will be sure to justify why this album isn't as bad as people make it out to be.
As many popular and mainstream-wise successful albums go, this album has a formula. It's not exactly a complex one, but it may require you to blink a few times to understand.
Almost every song contains:
1. Thick toned guitar riffs. (the guitar tone is consistent and never changes, the red sea will retract back into the mistress in the sky before they decide to use a different guitar tone).
2. Vocals that kind of sound like the fusion of a tough guy who works in Dixons and a Gibbon from the rainforest. (ooh-wah-ah-ah-ah)
These are the general premise of the textural components, I mean yeah there's some drums and some bass and even a few plinky plonky synth sounds but they may as well not exist for the most part. The verses are all about the guitar and vocals cumming all over eachother with a ning nang of pseudo-political (Stupify) and just plain nonsensical (Droppin' Plates) lyrics that seem successful in pissing off people that take things to seriously. I mean if someone is going to be literal and laugh at how shit Droppin' Plates message is well then they've succeeded because comedic tracks are meant to have shitty messages to begin with, but I guess taking it seriously will make people feel smug when they yank it into their testicles as a long lost pine cone lover.
For the most part this does sound average, but there are a fair few parts where this really shines. The choruses are genuinely catchy on almost every other song, even if they had the stupidest idea to throw their "let's make a shittier less sincere version of Korn" song as one of their main singles they still have a shitload of yum under the filler. I could listen to Voices a lot of times and the melismatic bridge on Stupify is actually pretty damn cerl to listen to. Like many albums the bottom end can seem a little samey after hearing the same thing over and over again, but thanks to the songs being relatively short and the guitar sound being identical in every single song you won't even notice you're listening to a new song and can rejoice at realising your favourite part of that one song was actually a whole song in itself but it just wasn't obvious at all.
Either way...the choruses completely outshine everything Disturbed do on the album, it is one of the things that allow a Nu-Metal band avoid being disposable toilet paper in a Texaco residing in Hull. But the more I listen the more comfortable I am with their choruses and I understand why some people really latch onto them. They manage to very successfully create a junk food style of Nu-Metal that will keep the fat, odourless carbon monoxide lickers coming back for more whilst leaving the arty snobs away from the insider joke that they'll never understand and thus will shout and scream about it and complain that they MUST like their stuff more because it's more clever and only the hobo at the bus stop has ever even heard of them.
All in all, nowhere near the best in the genre but a real keeper for people who aren't too picky about what they listen to when it comes to listening to things that you know your friends can dance to regardless of the fact that they just listen to Supertramp all day long. It's also not the most virtuosic in their catalogue guitar-wise, but it is what it is man; it's broke to some but others don't see a reason to fix a broken kettle when it works fine so long as you don't approach it with a knife. The fact that they can make money from using a nigh on identical formula on every album is admirable, but not something that would refrain me from wondering what it is like to bongo drum the lead singers head.
Well imagine it nonetheless, I'm not that brave.
It ain't for me really but I'd play a few of the singles in moderation MAYBE. I think this a band where you will either love and buy all albums, hate and buy no albums, or buy that one album and feel indifferent about the whole thing therefore forgetting it's there and playing another round of Yu-Gi-Oh with that bloke down the road. I will kindly refrain from dropping plates on female dogs though.
Published
I'm sorry.
This album is hilariously bad. But I still love it.
This album is hilariously bad. But I still love it.
Published
In my opinion, this is by far the worst Disturbed album and an album that I generally didn't like most of the songs on. Disturbed are one of the few nu metal/alternative metal/whatever they are labeled as nowadays that I don't completely hate and think they do have a few pretty cool songs. I do believe that Disturbed has gotten better as a band with their future releases, but the Sickness is an album that I generally can't find a good value to it.
I really do hate the song "Down With the Sickness" on the album, it just seems like a failed attempt at an anthem. One of the redeeming values about this album is the fact that the guitar riffs are not that bad as they are one of the things that I do admire about Disturbed that sets them away from the rest of the crowd. Most of the album seems weak with some pretty weird songs like the track mentioned before "Droppin' Plates" and "Shout 2000". I wouldn't give up all hope on this album as there are a few good tracks on this album, but as an overall whole, this album doesn't stand up.
Overall, not a complete abomination, but nothing to really say about this debut album by Disturbed.
Sound Off!
I really do hate the song "Down With the Sickness" on the album, it just seems like a failed attempt at an anthem. One of the redeeming values about this album is the fact that the guitar riffs are not that bad as they are one of the things that I do admire about Disturbed that sets them away from the rest of the crowd. Most of the album seems weak with some pretty weird songs like the track mentioned before "Droppin' Plates" and "Shout 2000". I wouldn't give up all hope on this album as there are a few good tracks on this album, but as an overall whole, this album doesn't stand up.
Overall, not a complete abomination, but nothing to really say about this debut album by Disturbed.
Sound Off!
Published
The hottest, freshes, catchiest nu-metal album of the early millenium
Looking back now it's hard for anyone to justify their past love of anything nu-metal, but this album was one of the gems to come from the genre.
It's got great guitar riffs which are just original enough to differentiate the band, and the touches of electronic flourish, though easy to laugh at now, really added to the flow and rythm of the album back then.
However it's David Draiman's fresh vocal style of pitch-perfect and rhythmic staccato which make these guys stand out.
To be honest I love every song on here with the slight exception of the pointless cover of Shout. The album doesn't take itself too seriously, bordering almost on a glam vibe.
The album cover kicks arse and beats anything they've had since with their cute little "rag-demon" mascot. Pity their music, like their album covers, became just too try-hard to play out the gimmick.
Looking back now it's hard for anyone to justify their past love of anything nu-metal, but this album was one of the gems to come from the genre.
It's got great guitar riffs which are just original enough to differentiate the band, and the touches of electronic flourish, though easy to laugh at now, really added to the flow and rythm of the album back then.
However it's David Draiman's fresh vocal style of pitch-perfect and rhythmic staccato which make these guys stand out.
To be honest I love every song on here with the slight exception of the pointless cover of Shout. The album doesn't take itself too seriously, bordering almost on a glam vibe.
The album cover kicks arse and beats anything they've had since with their cute little "rag-demon" mascot. Pity their music, like their album covers, became just too try-hard to play out the gimmick.
Published
When Disturbed released The Sickness in 2000, they certainly hit the metal world with a bang. Regardless of each person's particular qualifications of what is or isn't metal, and what exact category Disturbed fits into, there's no doubt that this multi-platinum success features twelve hard-hitting tracks to jam to.
I've seen a lot of Disturbed haters since I started liking the band, and while I can fully understand people not LIKING the band (as everybody has their own tastes), I honestly can't see what the Chicago quartet has to bash upon. To start off, they have a rather unique style, something that is too often missing in mainstream bands; they've mixed energetic yet musically competent riffs with almost techno-ish electronics and a frontman whose vocals range from screams to aggressive rapping and clean singing, and the mix works. Although The Sickness never quite displays any drastic differentiation in sound, every song on the record holds its own, with the overly repetitive Conflict and the immature and pompous Droppin' Plates being the only exceptions. A cover of Tears For Fears' Shout is included as well, here renamed Shout 2000.
Even with two sub-par tracks, The Sickness is a ride to be enjoyed by any metalhead, misunderstood teenagers and genre vets alike. Frontman David Draiman's vocal acrobatics are impressive to say the least, while guitarist Dan Donegan and bassist Fuzz create a solid musical section. Lastly, drummer Mike Wengren certainly nows what he's doing and uses his double bass pedals to maximum effect.
In conclusion, Disturbed's debut album is a valiant effort, and a refreshing addition to the sometimes monotonous metal world of the new millenium, and a record that keeps the listener glued to his speakers from start to finish.
I've seen a lot of Disturbed haters since I started liking the band, and while I can fully understand people not LIKING the band (as everybody has their own tastes), I honestly can't see what the Chicago quartet has to bash upon. To start off, they have a rather unique style, something that is too often missing in mainstream bands; they've mixed energetic yet musically competent riffs with almost techno-ish electronics and a frontman whose vocals range from screams to aggressive rapping and clean singing, and the mix works. Although The Sickness never quite displays any drastic differentiation in sound, every song on the record holds its own, with the overly repetitive Conflict and the immature and pompous Droppin' Plates being the only exceptions. A cover of Tears For Fears' Shout is included as well, here renamed Shout 2000.
Even with two sub-par tracks, The Sickness is a ride to be enjoyed by any metalhead, misunderstood teenagers and genre vets alike. Frontman David Draiman's vocal acrobatics are impressive to say the least, while guitarist Dan Donegan and bassist Fuzz create a solid musical section. Lastly, drummer Mike Wengren certainly nows what he's doing and uses his double bass pedals to maximum effect.
In conclusion, Disturbed's debut album is a valiant effort, and a refreshing addition to the sometimes monotonous metal world of the new millenium, and a record that keeps the listener glued to his speakers from start to finish.
Published
What a sorry excuse for music. Just a lot of screaming, incoheraent guitar scratching, and distortion. All they sing about is death, pain, sadness, and nothing really worthy of radio play. A terrible excuse for music from a band with no real talent.
Published
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Catalog
6 Feb 2020
5 Feb 2020
4 Feb 2020
4 Feb 2020
3 Feb 2020
1 Feb 2020
1 Feb 2020
30 Jan 2020
30 Jan 2020
29 Jan 2020
29 Jan 2020
27 Jan 2020
-
1
Voices
-
2
The Game
-
3
Stupify
-
4
Down With the Sickness
-
5
Violence Fetish
-
6
Fear
-
7
Numb
-
8
Want
-
9
Conflict
-
10
Shout 2000
-
11
Droppin' Plates
-
12
Meaning of Life
27 Jan 2020
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1
Voices
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2
The Game
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3
Stupify
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4
Down With the Sickness
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5
Violence Fetish
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6
Fear
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7
Numb
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8
Want
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9
Conflict
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10
Shout 2000
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11
Droppin' Plates
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12
Meaning of Life
24 Jan 2020
24 Jan 2020
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