This album stands on its own compared to Filter's other releases. It has regained a lot of the industrial metal sheen carried over from NIN but more importantly incorporates a more traditional rock sound for the main structure of the songs. It is a pleasing amalgamation that has produced one of the more idiosyncratic releases of its particular era. At the time of its release the Brit pop debarcle, together with the mainly artistically bereft music that has begun to stigmatise that of the 90s was beginning to evolve (or revolve) into what was to become the NU-Metal scene (in itself not wholly successful as a genre). Dance music disappeared back to the underground (which was where it was far more interesting) and bands like Oasis started to fail in the popularity stakes, whereas the likes of more forward-thinking bands like Blur adapted to their surroundings and managed to survive with their dignity intact. Rock and metal had been gone for almost a decade and had not been cool for much longer. But on the heels of the dance-induced industrial-metal scene, things were about to change.
To Title of Record. This is not a complete metal record, nor does it belong as a dance album. But some of the beats are derived from the dance music of the 90s. This can be heard in 'The Best Things' and 'It's Gonna Kill Me', both very energetic and breathless songs with moments of tranquility and electronica that erupt into squalls of guitar-led white noise. The opener 'Welcome to the Fold' is the most 'metal' track here. It uses chunky power chords from the outset to produce a very rousing aural experience. However the best tracks are the mellower ones. 'Take A Picture' is sublimely perfect and a window into their later ballad-writing prowess. And the chorus to 'Cancer' is another sound wave that uplifts. 'Miss Blue' is a lovely acoustic ending that is ruined by 6+ minutes of nothing in order to hear a lot of tongue-in-cheek death-metal growling.