Refused – Freedom | Dusty Organ

3/5

The Shape of Punk to Come was one of the most influential, progressive punk albums of the 1990s; upon its release back in 1998, the revolutionary musical and lyrical style was ahead of its time. It took almost a decade for Refused’s dominant expertise to shine through the standardized blinds of punk music around the turn of the century. Ironically enough, while on tour for their monumental album, the Swedish hardcore band called it quits (which may be part of the reason for their delayed admiration).

After the firing of guitarist Jon Brännström and reuniting for a 2012 tour, Refused began to reposition themselves on the musical radar. Three years later, the band announced the upcoming release of their fourth album Freedom – the first recorded work since the aforementioned 1998 release.

17 years has passed, and it is impossible to say that nothing has changed. The viscously aggressive and unpredictable vocals of lead singer Dennis Lyxzén still sound the same, but their mathematical, dance-spurring gusto has become slightly less for Freedom. “Old Friends / New War” almost slips through the cracks of the track list, standard-fist pumping track “Dawkins Christ” brings their sound back to the 90s, and bringing in a children’s choir for the Muse-esque snoozer “Françafrique”. “Servants of Death” oddly mashes together funk, punk, and synth-pop for a new and different approach to Refused’s style that will be either a hit or miss for long-time fans.

One of the changes that has been turning heads is the punk band’s collaboration with producer Shellback, who has worked with a number of Billboard pop stars such as Taylor Swift. Lead single “Elektra” has hints of traditional Refused, but with a noticeable radio-friendly energy and production, making it sound almost like an angry-Dave Grohl Foo Fighters’ song.

But looking past the slip ups, the songs that work really work. “Thought is Blood” takes off with a slow start, but the build up goes along way for an retro-Refused, explosive chorus. As the energy of the album begins to accelerate, horn-infused anthem “War on the Palaces” replenishes the Swedish band’s familiar artful punk style.

Keeping in mind the articulate and chaotic undertones of The Shape of Punk to Come, the second half of the album comes full circle. “Destroy the Man” and the second Shellback produced track “366” – which is almost parallel to the melodic-punk style of “The Shape of Punk to Come” – bring a higher level of energy to the album. Progressive punk track “Useless Europeans” brings the tempo down for the final track on Freedom, but still holds onto the lyrical essence of their revolutionary music and their dense, hard-hitting musicality for an aggressive close on the album.

Freedom’s slow start is quickly left behind, and fans both new and old will find something to love. The band doesn’t make music to please; they make music that they want to hear, and uncompromisingly and fittingly titled, Freedom has the band doing what they want.

Despite the title of the band’s 2006 documentary, Refused is not dead.

Stream the full album via YouTube.