Chapter V

“Promotion is not how things are made great – only how they’re heard about.”

-Ryan Holiday

Another act to depart from the sinking nu-metal ship in the noughts was Staind. In August of 2005, they released Chapter V through Flip and Atlantic Records. Like 2001’s Break the Cycle and 2003’s 14 Shades of Grey, it debuted at number one on the Billboard 200 chart, with a string of singles on the rock charts. It also continued the band’s effort to move away from nu-metal aggression and into more introspective, melodic territory. The lead single, “Right Here,” being a perfect example.

From their beginning, Staind had enjoyed a reputation as one of nu-metal’s biggest and hardest-hitting acts. Originally hailing from Springfield, Massachusetts, the band were formed in 1995 by frontman Aaron Lewis, guitarist Mike Mushok, bassist Johnny April, and drummer Jon Wysocki. They set about playing shows along the United States’ northeastern region to accrue a local following. Covers of songs by Korn, Alice in Chains, Rage Against the Machine, Tool, and Pearl Jam led to them writing their own material. The result was their self-released debut album, Tormented, in 1996.

At this point, they had enough clout to take the stage before Limp Bizkit, at a 1997 concert. This lead to one of the most legendary pieces of nu-metal lore. Bizkit frontman Fred Durst was so appalled by Staind’s album cover that he attempted to have them removed from the bill, erroneously believing them to be Satanists. He was unsuccessful, and for the better, as he reversed his opinion after seeing the band perform their set. Staind signed to Flip Records the following year. This became something of a trend in the scene — Durst would find bands to sign to Flip, or his own label, Flawless. Staind, Puddle of Mudd, Cold, and the Revolution Smile would all get a boost as a result of the red cap’s industry connections.

1999’s Dysfunction was all down-tuned metal aggression, with a musical style reminiscent of Korn. To promote the album, Staind toured relentlessly over the turn of the millennium, most notably opening for Limp Bizkit again on the Family Values Tour 1999, and Korn on their Sick and Twisted Tour in 2000.

Subsequent releases saw the band mellow out a little. The lyrical subject matter hit as hard as ever, but many songs would see Aaron Lewis playing acoustic guitar while the rest of the band provided tones and textures to match.

Another part of their sound was Mushok’s use of baritone guitars. He’s had signature models with Ibanez and PRS throughout his career, probably the two most nu-metally guitar brands in existence. Tuned way down to Drop G# for most of their material, but with an emphasis on melody and texture as opposed to just big, chunky riffs. Which makes sense to the many guitar bros on forums and in comments sections saying that the guitarists in these bands should ditch the seven-string and just use baritones. Diezel and Marshall amps have long been a mainstay in Mushok’s live and studio rigs, along with an assortment of modulation effects to add texture.

Produced by David Bottrill (Tool, Godsmack), the album explores a broad range of themes, from uncertainty, to self-doubt, to regret, and everything in between, but also hope, and promise. The writing process was more collaborative, with more input from all band members.

“Personally I think that Chapter V is the best record we’ve put out,” Lewis said in a 2006 interview with Faster Louder. “We were hell-bent on writing a better record than the last record we had written… I don’t think I have a song that I don’t have a strong emotional connection with,” he says after some reflection. “There is no such thing as fillers to us. That’s bullshit. The bands that put two good songs on a record and the rest of it is shit really ruin it for bands that try to make an effort.”

I have to agree. In a world where playlists and viral sensations dominate the market, it is nice to listen to an album that’s just a solid body of work, from start to finish. Of course, I’ll still make room for playlists, and the occasional song on repeat when I’m working, but I do love a good album.

As is the case with all of Staind’s work, Chapter V is deeply personal. “Right Here” is a heartfelt plea for forgiveness and stability, and a promise to do better despite Lewis’s mistakes. Subsequent singles like “Falling,” “Everything Changes,” and “King of All Excuses” have to do with inner turmoil, bittersweet reflections, and broken trust, respectfully.

“I’ve always tapped into my personal life and my personal experiences and what they have and haven’t been, and I’ve always used that as what the songs are gonna be about,” Lewis says. “If I’m gonna be honest about my lyrics and honest with what I’m putting forward… then it’s gonna change, cos my life has changed.”

“Paper Jesus” stands out in that it’s one of Staind’s few socially-charged tracks. It calls out celebrity worship, and the general superficiality of modern culture. The title is fitting, because there is a tendency in modern culture to create “small gods” out of the celebrities we adore. That’s partly what The Great Gatsby was about. I kinda roll my eyes whenever I see a “No gods, no masters” sticker on some wall in Brunswick or Northcote, because I am certain that just three minutes of conversation with the people quoting that slogan, I could tell them exactly what they worship. Even if it’s not a religious deity or a celebrity of sorts, it will be something. The state, authors, podcasters, influencers, or an ubermensch from some Marvel or Disney film. Everybody worships a god of their own creation.

Or the music we listen to. There is a tendency to think of Staind and other nu-metal acts as being like a therapy session. Unfiltered, vulnerable, and cathartic. I don’t exactly look for this in music, but I do see where that idea comes from.

All of this makes for a radio-friendly, post-grunge sound. Introspective and melodic, but still heavier in places. It received mixed reviews on release, but enjoyed a strong commercial debut. And with nu-metal being a thing again with Generation Z, Staind are still getting plenty of attention on streaming services and social media. It’s a great record, and not just one or two good songs. Something that lasts.

In Perennial Seller, Ryan Holiday sums it up nicely. “Art is the kind of marathon where you cross the finish line and instead of getting a medal placed around your neck, the volunteers roughly grab you by the shoulders and walk you over to the starting line of another marathon.”

Seneca, the Roman philosopher, was also a playwright. He wrote that anyone doing anything creative, for any amount of time, required “confidence in yourself and the belief that you are on the right path, and not led astray by the many tracks which cross yours of people who are hopelessly lost, though some are wandering not far from the true path.”

In this context, it would be silly to compare the musical style and record sales of Staind to someone like Justin Timberlake. Lewis and Mushok wouldn’t get anywhere if they constantly compared their works to Jerry Cantrell’s or David Gilmour’s best riffs.

Staind succeeded precisely because they weren’t endlessly checking charts and lists. And I would argue that Chapter V — and all of Staind’s works for that matter — endure precisely because the artists spoke their truth, and in doing so, tapped into the most commonly felt emotions about everyday things we do, feel, and experience. None of their albums would be what they are if the focus was on just one or two hit singles. Break the Cycle is remembered for many of its album tracks and live favourites, not just “It’s Been Awhile” and “Outside.” Same with 14 Shades of Grey.

For me, it’s not just the creative process on their end that takes time and work. It’s my part as a listener as well. To really sit down and appreciate an album from start to finish. It’s a beautiful thing.

Otherwise, it’s all just viral bait.