Papa Roach: Jerry Horton (vocals, guitar); Jacoby Shaddix (vocals); Tobin Esperance (guitar, bass instrument, background vocals); Dave Buckner (drums, background vocals).

Getting Away with Murder offers Papa Roach fans more of the California combo's hard-hitting rage rock. Jacoby Shaddix (the name change stands) and crew have moved fully away from the rap rock blip that put them on the radar around the turn of the century. But they haven't lost their amplified intensity, nor the obsession with depressing, vaguely S&M-ish lyrics. (Example: "I'm a glutton for your punishment/You're the master/And I'm waiting for disaster") Production from Howard Benson and the mixing of Chris Lord-Alge ensure a crushingly compressed, radio-ready juggernaut, and the title track doesn't disappoint in that department. "Be Free" is also a standout, moving slightly away from the usual heavy mid-tempo sound for a scathing exploration of the ravages of alcoholism on Shaddix' tortured psyche. Fans of the Roach will certainly enjoy the loud, blustery Getting Away With Murder, even if it's not necessarily helping this fluxing genre through its growing pains. ~ Johnny Loftus

Howard Benson, Chris Lord-Alge, Papa Roach. It's gotten to the point where you can fill in the last name with another combo of mascara-eyed angry men jockeying for position in the bubbling ooze of the post-rap-rock (yes, that's a term) universe. Producer Benson and mixer Lord-Alge are professionals both, masters of compression and punching up the radio mix. This is what they offer Papa Roach -- a promise that the band's Getting Away with Murder will sound both raging and properly marketable. To that end, "Not Listening" rewrites the 2001 Roach hit "Last Resort" without the rap, while the big title-track single is built around a mechanistic Korn bass throb and a carnival funhouse lead guitar line. (The better to scare you with, see.) On the latter, Jacoby Shaddix (the name change still stands) incorporates the affected whisper, the vengeful yell, and the vague lyrical cocktail of depression and S&M ("I'm a glutton for your punishment/You're the master/And I'm waiting for disaster"). Fill in the bruised blanks. His railing against alcoholism in the bashing, amplified rocker "Be Free" (as well as throughout the album) does seem genuine. But still, it's off-putting how much Shaddix sounds like Trent Reznor. Seriously, where's Papa Roach inside Getting Away with Murder's production and brand positioning? "Scars" is a midtempo power ballad of sorts, again about the ills of drinking; with tweaking it would fit on a Good Charlotte album. Album opener "Blood" (Empty Promises)" does suggest the harder screeds of 2002's lovehatetragedy, but it doesn't go far enough, and that tense edge is dulled by repetitive glowering ("I lit my pain on fire/And watched it all burn down!") and muddled genre posturing once the album fully starts. With Getting Away with Murder, Papa Roach offer fans of this sound an appropriately hard (yet painstakingly layered -- thanks Howard and Chris!) punch in the face. But there's a hollow sound as the bones collapse, because all that's supporting it is expensive art direction and a big scaffold of clichés. If your scream sounds like everyone else's, does anyone really hear it? ~ Johnny Loftus

Papa Roach's 2002 effort, LOVEHATETRAGEDY, didn't quite live up to the success of its major-label predecessor, but the importance of this outing was the band's decision to go beyond its rap-rock origins. GETTING AWAY WITH MURDER showcases the quartet's further creative growth, as the playing and writing have only gotten more potent. Frontman Jacoby Shaddix continues to impress as a vocalist who's gone from shouting his thoughts to conveying more sophisticated subject matter. The biggest difference can be seen in Shaddix's shift from contemplating his dead dog on the last album to here ranting about a deceptive government motivated by greed and power ("Tyranny of Normality"). Just as effective is the anthemic "Blanket of Fear," with its strident denouncement of overwhelming paranoia in an age of war and terrorism. Throughout it all, guitarist Jerry Horton lays down brontosaurus-sized riffs that prove that Papa Roach still has plenty of aggression to fuel its brand of nu-metal.