Hinder Extreme Behavior CD

It's unclear precisely which definition of their name Hinder prefer: "to impede progress" or "the outdated midwestern slang term for the buttocks." Both fit, because Hinder is an unapologetic throwback to the post-Guns 'n' Roses era of hard rock, when dudes like Poison and Motley Crue ditched their glam look in favor of a grungier "street" vibe and a tougher-edged sound. Their unapologetically smirking lyrics teeter right on the brink of outright sexism throughout songs like "Get Stoned" and "Homecoming Queen." As with the Darkness, part of the fun of EXTREME BEHAVIOR is that it's impossible to tell how seriously it's supposed to be taken.

Released in September 2005, Hinder's Extreme Behavior revives the riffs and misogynistic tone of 2001 albums from Puddle of Mudd and Nickelback for a whole new batch of undergrads. This isn't so much post-grunge as it is straight-up dude rock. The artwork is a triggered response collage of lingerie and Jäger, and the music blares like a stereo left on in the keg room, all swear words and electric guitar blab. Hinder singer Austin Winkler is a stand-in for Nickelback's Chad Kroeger, and his lyrics? Like the chorus of lead single "Get Stoned" that asserts sex is better when the participants are angry and high, Winkler doesn't show a lot of class on Behavior. Hinder do try a little tenderness here and there. They sound like a heavier Wallflowers on "Nothin' Good About Goodbye," and "Lips of an Angel" carries the power ballad torch complete with a soaring solo stolen from hair metal's golden era. "Homecoming Queen" is another take on the good-girl-tarnished-by-big-bad-L.A. story; it's also a pretty obvious rewrite of Guns N' Roses' "Sweet Child o' Mine." For the most part, Hinder are all about big dumb rock, the kind of stuff that's happily ignorant of common courtesy or trying much of anything new musically. [The album was also issued in a clean version.] ~ Johnny Loftus

Released in September 2005, Hinder's Extreme Behavior revives the simpleton riffs and stupid misogyny of 2001 albums from Puddle of Mudd and Nickelback for a whole new batch of undergrads. This isn't even post-grunge -- it's straight-up dude rock. The artwork is a triggered response collage of boobs, lingerie, and Jäger, and the music is so obvious that it actually recedes from the ear. Like a stereo left on in the keg room, it's just a chatter of swear words and tuneless electric guitar blab. Austin Winkler sounds like a drunk shouting along with Chad Kroeger, and his lyrics? "Let's go home and get stoned/Cause the sex is so much better when you're mad," "She said she's sorry/With one finger/I said fuck that," "She said she loved the taste of my oh oh oh" -- Winkler doesn't even have enough class to fake sounding cool. When Hinder and producer Brian Howes (he co-wrote every song with the band; Nickelback producer Joey Moi also gets a credit) do try a little tenderness, they sound like a bludgeoned Wallflowers ("Nothin' Good About Goodbye"), thudding power ballad torchbearers ("Lips of an Angel"; cue the soaring solo stolen from hair metal), or bumbling Guns N' Roses thieves (the played-out "Sweet Child" rewrite "Homecoming Queen"). Extreme Behavior can't even make it as rote hard rock -- it's too insulting to women and your intelligence. That's why it's dude rock instead. Hinder are so egregiously dull they appeal not to fans of music, but fans of high fives. [The album was also issued in a clean version.] ~ Johnny Loftus

Amp - Amended Produc

Recording information: The Armoury, Vancouver, British Columbia, Canada.

Editor: Misha Rajaratnam.

Photographer: Emily Shur.

Personnel: Mark King (vocals, guitar, piano); Austin Winkler, Mike Rodden (vocals); Brian Howes (guitar, keyboards); Robin Diaz (drums).

Audio Mixer: Randy Staub .