Released on the back of his fascinating book of the same name, 'The Heroin...' sees rock god extraordinaire Nikki Sixx emerge with a sharp-shooting band with an unexpected twist. Wrapped up in a more polished and slightly Gothic sound, Sixx A.M., which is Sixx on bass, DJ Ashba on guitar and James Michael on vocals, are far removed from anything Sixx has done before. This is hip, modern, nu-metal laced at times, and dark but in an almost commercial rock way. Some would argue that James Michael's vocals are little too straight laced, but then again, Sixx has worked with a variety of stars and this time requires a voice to portray his emotions, fears and pains. This is the Sixx story on record, but does it reach the heights we expected ?
Well, at times yes. 'Van Nuys' is a dark epic of streetwise beats and crushing Gothic chorus, beautifully orchestrated, dramatic, theatrical. 'Life Is Beautiful' is an immense track, sweeping yet classic, that opening riff wouldn't be out of place on the latest Crue album, but the surprise once again comes in the vocals. James Michael certainly adds a sensitive side to the weight of sound, in fact vocally there is a lack of real identity here, but the chorus is immense, and the softness and hardness compliment one another perfectly. Ashba is a fantastic guitarist who has since joined the G 'n' R ranks, and 'Life...' is one helluva emotional track, a modern rock song for the airwaves.
'Pray For Me' is equally as cool, and it's here that James Michael excels himself. A crunching groove accompanied by his dark-laced vocal croon which builds to an immense chorus, and this continues with the superb 'Tomorrow'. Although having a strong commercial edge, the last two cuts show Sixx's ability to write on demand songs which aren't just about girls and sex. 'The Heroin Diaries...' is a deeply serious record, clearly drawn from painful experiences. However, I do have one complaint. 'Accidents Can Happen' is wistful enough to belong on a stage! And I'm not sure this is a good thing. Don't get me wrong, it's a cleverly constructed track, but again, this is where the problem lies with James Michael's delivery, a soft-rock crooner who remains hidden behind any barrage of riffage, but who soulfully floats above the more emotional strains of the tracks. 'Dead Mans Ballet' causes quite a rumble however, but the album does follow a familiar theme once James Michaels vocals interact with the subtle sound which he eases after the original blast. 'Permission' is quite 'Euphoric' as a track, lush in its arrangement and 'Courtesy Call' has a dark, Gothic edge that cuts deep. The album ends with 'Life After Death', and will probably leave most listeners compelled but not overly satisfied. But then again, I think this is a more personal album for Sixx, but despite the flaws of James Michael's delivery, there are some brilliant tracks on offer here and an album layered with emotion.
8/10
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