Stone Temple Pilots mean many different things to different people.

For some they're the grunge pretenders of the early '90s, jumping on the angsty-guitar bandwagon and roughshod bohemian imagery, just in time to cash in on the groundwork laid out by Nirvana, Soundgarden and - especially - Pearl Jam . (When Stone Temple Pilots played MTV's Unplugged in 1993, largely off the back of their then hit 'Plush', people wondered why Eddie Vedder had cut his hair short and dyed it red.) For others, they're a misunderstood glam-pop outfit, whose mid-'90s albums Purple and, to a lesser extent, Tiny Music... Songs from the Vatican Gift Shop, proved the band were able to flit between classic, shimmy-ing AM rock and expertly crafted pop songs in a way that entirely eluded their grunge brethren. But despite such achievements, for the most part they're that band with the druggy singer.

Frontman Scott Weiland's drug addiction has been well documented, not to mention blamed for the initial demise of Stone Temple Pilots in 2003, as well as his next band, the Slash-led supergroup Velvet Revolver. After Weiland publicly announced his ugly departure from that band at a live show in 2008, steps towards an STP reconciliation were made by Weiland's wife, who reached out to the rest of the band. Still in and out of rehabilitation (and the odd jail stint), Weiland reunited with drummer Eric Kretz and brothers Robert DeLeo (bass) and Dean DeLeo (guitar), and set about writing for what would become the bands sixth record. In line with this rebirth, the resulting record is simply titled, Stone Temple Pilots.



At a glance, Stone Temple Pilots isn't a wallow in the sludgy days of yore, nor is it the surprise left-turn, classic pop statement of the group's middle period. Weiland's voice is noticeably gruffer, less supple, and his lyrics too bear the hallmarks of someone that still isn't finished battling vices. The record seems top-stacked with the kind of songs that reunited bands always seem to think people want to hear - stomping rockers. First single 'Between the Lines' leaps out of the gate, and jumpy follower 'Take A Load Off' aren't as memorable as the the band's early catalogue, but nevertheless seem destined for radio. 'Huckleberry Crumble' too, plays like it would've been destined for Velvet Revolver.

'Hickory Dichotomy' is the first reminder of the band's ability to genre-mash into a signature brand - a windy, near nonsensical verse erupts into a classic pop chorus. 'Dare If You Dare' follows much the same pattern, albeit in a slower tempo, while 'Cinnamon' sounds like it could've been a single from Purple. That's a good thing. It's at the back end of the album that the group finally settles into the kind of playful pop detours that cemented their fans acclaim in the first place: 'First Kiss On Mars' has David Bowie all over it, while final track 'Maver' could've been culled from any number of '70s hair and moustache bands toting a big ol' Gibson acoustic in the front sunroom at the surf beach. Though grunge sprang from the gloom of Seattle, STP rose from the coast of San Diego, and it's when they let these sun-dappled roots shine that their true personality begins to set them apart.


Stone Temple Pilots - 'Between The Lines'

Is the band still relevant after all this time? Stone Temple Pilots slots neatly into the bands catalogue, but without providing any new scenery - it divides up what we already know. This can only be a good thing for the group's future. Those hoping for a trainwreck won't find it here, but those looking for tightly polished, playful pop nuggets, (with the odd detour), that wills you to roll the window down as the car picks up speed, will be satisfied. And maybe, with this out of the way, on the next one Weiland can stop singing about drugs.

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Stone Temple Pilots is out May 25 May 21 in Australia (it's May 25 everywhere else). You can pre-order the regular album, as well as the DELUXE version (which includes bonus tracks, live versions and an interview) on iTunes now: PRE-ORDER STONE TEMPLE PILOTS ON ITUNES