After the arduous process of making 2001's hyper-orchestrated and hearing the fierce, back-to-basics of bands like and , vowed that the next album would be a departure from the excesses of his previous efforts. In some aspects, makes good on his word: right down to its cover art -- a photo of a naked arm, free of any ornament (or track marks) -- the album makes a show of its simplicity. The pair of rockers that begin are just as driven as anything that has come out of the recent wave of , but save for some affectations, could easily appear on any of 's other albums. Indeed, lyrics like "This little life of mine/I'm gonna let it slide" and song titles like are so quintessentially that they border on parody. The album's softer moments also have a slightly rehashed quality and are still fairly ornate. While are more restrained than 's material, that just means that their excesses are less excessive -- there's only one orchestra and choir per song. However, the processes that used to craft the album aren't as important as the fact that its songs aren't especially distinctive. touches on all of 's song archetypes: fiery rockers ( ), -tinged pleas for salvation ( ), ethereal laments ( ), and forays into ( ), but, despite energetic performances and a relatively simple approach, very few of the songs connect. If anything, the stripped-down production magnifies the album's nondescript songwriting. The standout track is a bleakly beautiful song that truly does use the orchestra in a restrained and powerful way, making a logical progression from where 's music has been to where it could be going. is far from a bad album, but it's not an especially compelling one, either. The yin and yang of 's symphonies and make for a sharp contrast in his work, but they can also settle into a rut, as is the case here. Die-hard fans may find a lot to like about , but then again, they may find another spin of more rewarding. ~ Heather Phares