Welcome back to my monumental task, where I review every Dope studio album ever. Today’s entry is admittedly, a sentimental one for me. This is the album that ignited my interest in Dope, an interest that still burns strong to this day. That’s right, we’re shining the spotlight on Dope: American Apathy.

American Apathy was released on July 26, 2005 via Artemis Records. Edsel Dope stated in interviews from the time that this was a very tongue and cheek album that wasn’t actually taking itself too seriously. True to form, this went completely over the heads of critics. A contemporary reviewer for Blabbermouth.net illustrates this perfectly, stating that American Apathy is “difficult to take seriously.”

Which brings me to different, but no less relevant point. Reading all these reviews, it often feels like Dope has been judged less on their own creativity and more in comparison bigger acts of the time – be they Marilyn Manson, Nine Inch Nails, Korn, whoever. With my EDSAE series, I aim to change that. I am reviewing Dope’s music on its own merit, and not comparing them to other acts of the time.

What sets American Apathy apart isn’t just its bold sound; it’s the sharp, cutting commentary embedded in its lyrics. That’s where Cristina’s insight takes the stage. So let’s get into it. Let’s bring in the angst for American Apathy.

Cristina’s POV

American Apathy is lyrically dark and political. The title speaks for itself, capturing the feeling of apathy towards government, war, and societal norms. Songs like “No Way Out” and “Revolution” scream of disillusionment and rebellion, taking a hard look at the system and flipping it the bird. There’s an obvious anger toward the political climate of the time, with a lot of that venom directed to then president George W. Bush.

Listening to American Apathy in today’s polarized political climate makes its message feel even more relevant. The apathy and anger Edsel Dope directed at the system in 2005 resonate now with even greater intensity, reflecting the widespread disillusionment and political frustration of 2024.

Edsel’s vocal delivery on this album is a potent mix of sneering sarcasm and unfiltered rage. His ability to shift between scathing verses and more melodic choruses brings a dynamic edge to the album. Despite the album’s rawer, grungier feel, there’s a precision to the musicianship that keeps the songs tight and impactful.

Standout tracks on this album are Survive, No Way Out, and Always. These three tracks run the gamut between seething anger, defiance and loss, showcasing something that’s not often brought to the conversation about Dope: their range. Always, in particular, showcases a more vulnerable side of the band, with its somber tone and introspective lyrics contrasting sharply with the seething rage of Survive. It’s moments like these that remind listeners that Dope isn’t just about aggression—they can pull off a range of emotions without losing their edge.

Cristina’s Verdict

In hindsight, American Apathy stands as one of Dope’s boldest statements. Its blend of unfiltered anger and sarcastic defiance feels just as potent in 2024 as it did nearly two decades ago. Though it’s not often brought up in the conversation of Dope’s catalogue of music, maybe it’s time we did. This is an album well worth a revisit, and is still 100 percent relevant to this day.

Hello folks, sorry for the wait! Today’s update will see us continuing our series of Cristina reviewing every Dope studio album ever. And it’s a good one, guys. It’s #2 on our three best Dope albums: it’s the one and only Group Therapy.

But first, let’s get a disclaimer out of the way… I am not a journalist and have never claimed to be one. I’m just a fan sharing my thoughts and experiences with this album.  I have a big mouth and a platform, so here I am!

Group Therapy was released on October 21st, 2003, and marked Dope’s first album after parting ways with Epic/Flip Records, citing Epic’s lack of promotion and support. While the media might suggest that reactions to this album were mixed, it received widespread acclaim among Dope’s fanbase. One reviewer noted, “The band has matured a lot but still has room to grow, and I hope that one day they land a real masterpiece.” Some critics drew parallels between Dope’s sound on this album and that of Linkin Park and Korn, though these comparisons seem a bit of a stretch.

Group Therapy also enjoyed some success in the mainstream: “Today is the Day” was the theme for WWE’s No Mercy event in October of 2003. (Check out announcer Michael Cole shouting out Dope in this ad from the broadcast right here!)

So what’s the verdict? Well, here’s my analysis. Let’s try to do a bit better than critics of the time, hm?

Cristina’s POV: The Review

Group Therapy’s sound is both gritty and polished, with powerful guitar work that complements Edsel Dope’s vocal intensity. The production strikes a balance between the chaotic and the controlled, reflecting the album’s themes of struggle and resilience. The lyrics delve into inner conflict and the search for self-acceptance, resonating with anyone who has faced their demons head-on.

One of the standout tracks on the album is “I Am,” which captures the essence of Dope’s sound by combining heavy guitar riffs with catchy choruses. I’ve often described “I Am” as the “fuck you” anthem you didn’t know you needed, and that still rings just as true today. Another highlight is the track “Burn,” which offers a relentless energy that ignites listeners with its passion. These songs demonstrate Dope’s knack for crafting memorable hooks without sacrificing intensity.

Compared to their earlier albums, Group Therapy marks a progression in both sound and lyrical depth. While Felons and Revolutionaries introduced the world to Dope’s unique blend of industrial and metal, Group Therapy refines and expands upon that foundation. The album feels more cohesive, with each track contributing to a larger narrative of personal and collective catharsis.

All in all, Group Therapy is a satisfying mix of serenity and sanguinity fused with the rage and defiance characteristic of Dope’s earlier offerings—and then some. It’s a more than worthy entry among the top three Dope studio albums.

Join me next in our series as I review an album that has a lot of nostalgia for me. It’s American Apathy. Often overlooked in the conversation, it’s time to shine the spotlight on this album that’s brought us several iconic tracks. Stay right here with us.

Continuing my review of every Dope studio album ever, we’re up to 2001’s Life.

This is Life…

Life was released on November 6th, 2001. It was produced by Edsel and Josh Abraham, who also produced Static-X’s Shadow Zone. Life spawned two singles, Now or Never and Slipping Away. Both the album and its singles charted pretty decently, considering how over saturated the early 00s was in pop music.

However, I’m willing to bet that’s not what you know this album for. Life was the album that brought us Dope’s most infamous track, Die MF Die. If you know any song by Dope, it’s probably this one. True story, the last time I talked to someone about Edsel, they said “The Die MF Die guy, right?” This and Blood Money are often cited as the Dope aesthetic, and it’s not hard to see why. They’re both such iconic songs, and tied so heavily into Dope’s overall tone and style as a band.

The Review: Cristina’s POV

Professional reviewers were not kind to this album. Blender’s review from 2003 stated, “If you thought the success of Staind and Limp Bizkit proved that producer Josh Abraham has the sharpest ears in nü-metal, listen to Dope’s second album and think again.” This critique, however, seems more reflective of the reviewer’s bias towards what was mainstream at the time rather than an objective assessment of the album’s quality. So let us strive to do better, here.

While Life may not be my favorite Dope album, it certainly does not deserve the harsh reviews it received. Tracks like “Now or Never,” “Thanks for Nothing,” and the very singable “What About…” stand out as strong entries. “With or Without You”‘ adds depth with its slower, more introspective vibe and Edsel’s emotive vocal delivery. The album also features one of Dope’s best music videos to date for “Now or Never.” (VERY underrated: check out this amazing video right here)

Most importantly, Life has substantial replay value. Compared to other albums from that era, this one is more likely to draw listeners back. Life’s themes of rebellion, self-destruction, and defiance are universal concepts we can all relate to. I’ve always said I could never forgive an album for making me feel nothing. Luckily, like many fans, this album resonated with me. Its raw energy and honesty is endlessly engaging.

Life didn’t get the recognition it deserved when it was released. Perhaps it’s time we changed that?

Next in our series is Group Therapy – stick right with us as I review every Dope studio album ever.

As promised, I’m reviewing every Dope studio album EVER. And we’re starting with a review of 1999’s Felons and Revolutionaries.

Worth noting: I’m not a journalist, and have never claimed to be. I AM however, a very opinionated fan with a loud mouth and a platform. That’s … almost there on the qualifications, let’s be real. Point is, don’t take this like I’m a music industry expert or anything. My reviews also tend to reflect that I find it unproductive to be overly critical just for the sake of a “balanced critique.” If there’s nothing particularly at fault with a work, I won’t pick it apart just to find something to criticize.

With that said, let’s get into this review of Felons and Revolutionaries.

Felons and Revolutionaries: The Beginning

Dope burst onto the world stage with the release of Felons and Revolutionaries in 1999. As of this writing, it is their best selling album. It’s also *most likely* the album you’ve heard the most from commercially: the song Debonaire was featured on The Fast and the Furious and Scream 3 OSTs. Debonaire was also used as the entrance music for the wrestler Rhyno when he was in ECW, which I actually didn’t know until recently.

Along with the ever popular Debonaire, the tracks Sick, Everything Sucks and Pig Society were released as singles from Felons. Debonaire, Sick and Everything Sucks also received music videos. The album was produced by Edsel and John Travis, with Edsel also helming the design and artwork for this release.

The Review: Cristina’s POV

Felons and Revolutionaries has received generally favourable reviews, and for good reason. It’s a damn good album. For those of you who got into Dope with No Regrets or later releases, though, you might think you’re listening to a different band at first. That’s because with their debut, Dope was definitely giving more industrial vibes. This might be a slightly different Dope in style but not in overall tone. But if you’re not big into industrial, this might not be your go to Dope album.

Debonaire is without a doubt the strongest track on the album, along with (arguably) being Dope’s most commercially successful single. Don’t sleep on low key bangers Spine for You, Kimberly’s Ghost and One Fix, though. This album is also notable for featuring one of very few covers by any artist that is (in my opinion) better than the original: You Spin me Round (Like a Record). Originally performed by Dead or Alive off the album Youthquake, Dope’s arrangement is still a mainstay in their live shows. When it comes to another cover on Felons (N.W.A’s “Fuck tha Police”), the re-recorded version on American Apathy is the stronger pick.

The Verdict?

Felons and Revolutionaries is still a bop 25 years on, and gives no impression of feeling dated or “of its time”. Music is a landscape that sometimes changes by the second. It’s not often that albums from this era still feel so fresh and relevant. I’ve never really understood how Edsel seems to manage keeping his music so continually timeless. At the end of the day, I don’t need to understand. Don’t take things too seriously or overcomplicate them. Good is good.

I’ll see you with the next review where we take a look at Life. The album that spawned that one song that will forever remain Dope’s most infamous track…