Refused – ‘Freedom’

Refused are fucking dead. Or at least, so we thought when the band unveiled those words at the head of an open letter to mark their demise in 1998. It was the end of the band and the start of a cult. The Swedish forerunners would go on to gain unprecedented popularity and importance in the alternative scene. Despite remaining comparatively underground during their lifespan, Refused saw their reach expand exponentially.

Cue 2012 and the band’s well publicised return. Dennis Lyxzén is stepping out on substantially larger stages than Refused have ever played. What originally started as a handful of shows to celebrate their highly respected and critically acclaimed material morphs into a full-blown reunion. New material is promised; an announcement met by excitement and trepidation in equal parts. Calls of a desecrated legacy ensue.

And now there is ‘Freedom’.

“Nothing has changed,” Lyxzén exclaims on lead single and album opener, ‘Elektra’, somewhat misguidedly. A lot has changed, not least Refused themselves. If anything, the similarities on the opening number to their iconic ‘New Noise’ prove a red herring. Refused are a different beast altogether.

The political elements remain, although share similar criticisms to Muse’s recent superficial commentary. Instead, the band’s fourth full-length is largely guided by their newfound status. The seething anger that dominated their earlier material is replaced by stadium experimentation. ‘Françafique’ employs child vocals to introduce its sounds, seemingly built around crowd participation, while ‘Old Friends / New War’ and ‘Servants Of Death’ play with headline classic rock formulas.

The result isn’t as much watered down as it is different. Refused are seventeen years older. Their priorities have changed. Although not in style, moments of ‘Freedom’ bring Faith No More’s carefree experimentation to mind; Refused are having fun. There are moments that pack a punch, and Lyxzén’s screams remain as earth-shaking as ever, but ‘Freedom’ is ultimately less serious than their prior releases.

This is bound to annoy. For a band who built themselves on political commentary and anger, ‘Useless Europeans’ is a curveball; ‘Freedom’ is one massive curveball. To argue that ‘Freedom’ isn’t even in the same league as ‘The Shape Of Punk To Come’ and predecessors is redundant. They aren’t even playing the same game anymore. For diehard fans, this will frustrate. This will anger.

‘Freedom’ isn’t comparable. ‘Freedom’ is complex. Had Refused never released material before, ‘Freedom’ is exhilarating. Although impossible to ignore legacy, the record is an unpredictable powerhouse led by Lyxzén’s undeniably impressive vocals. There may be the occasional questionable lyric, yet the elements that will cause frustration and anger are simultaneously the ones that elevate ‘Freedom’ to stadium level.

For traditionalists, Refused should never have reached that level. Refused should never have returned. ‘Freedom’ won’t change those minds, but that certainly doesn’t make it a bad record.

BEN TIPPLE