Spineshank have held the title of nu-metal underdogs since their inception, and despite the underground success of "Strictly Diesel" and the punishing intensity of "The Height Of Callousness", the band seem to continually be overlooked by the majority of today's heavy music listeners. Despite this, the group have persevered through thick and thin, remaining consistent over the course of two releases, even obtaining video and radio airplay courtesy of the double punch of "Synthetic" and "New Disease". Now they have set their sights on those listeners who have not yet experienced their scintillating aggro assault, as "Self-Destructive Pattern" appears to be a much more focused album, aimed at giving the band the breakthrough into today's mainstream climate that they have until now had trouble grasping.

This effort finds a resurgence of the melodic slant the group ushered forth on "Strictly Diesel", yet Jonny Santos has found solace in smoother, slightly artificial crooning that is readily distant from the strained, emotionally fragile tones he triumphed with on the group's debut. This makes his performance much easier to digest, but comes at the expense of the intimacy and honesty his former style lent the listener. "Forgotten" is perhaps the album's best example of Santos' melodic focus, as it is a catchy pop/metal concoction reliant upon his softer range and powerful hooks, yet there is something missing from his passionate vocal embrace, unfortunately making this cut sound empty from an emotional stand-point. Thankfully his signature scream is still intact, and while it has been toned down from the in-your-face bravado found on "The Height Of Callousness", it still provides the expected blast of anger and hostility the band have thrived on since their inception. The rest of the group have followed suit, moving away from the gritty, raw sound that has become identifiable as Spineshank, and instead opting for a processed hard rock chug that borders on formulaic alt. metal. Mike Sarkisyan's tenacious guitar has been abbreviated, building to abrasive crescendos but incapable of executing the major explosions noted on past efforts. Even Tommy Decker's electronica touch has been weakened this time around, feeling surgically implanted into the songs rather than sounding natural and organic, which makes the album feel disjointed at best and awkwardly pieced together. This appears to be more of a move to streamline the band's acerbic pretense, giving the songs a radio-friendly appearance that uses electronic elements in a vain attempt to sound hip, rather than injecting subtle doses to enhance their slight industrial edge. In spite of these risky steps toward accessibility, this quartet have an unwavering commitment to writing compelling songs, making this a step down from previous releases but a necessary leap if the band intend on finding commercial acceptance.

"Self-Destructive Pattern" is a pivotal release in Spineshank's tenuous career, coming at a time when it is evident that they are desperate to breakthrough into the public's eye. Santos has seemingly grown as a vocalist, as his shaky nuances behind the mic have all but evaporated, leaving a stronger melodic sensibility exposed and often sounding as if he has been aided by vocal effects. In turn, these men have summarily scaled back their metallic crunch, opting to instill rigid song structures that only break from conformity when reminded of their industrial flair. As such, these songs are much more in tune with today's hard rock world, offering the aggressive prerequisites the genre is known for, yet staying only a hook away from being down-right infectious. Lyrically this offering is the usual powerhouse of emotion, as bringing a jaded sentimentality to the alt. metal realm with poetic dexterity has always been one of the highlights of the groups albums. In fact the band seem to be much more proficient in writing songs that hit all the bells and cues, but on record (and with producer GGGarth's over-production), this churns caustic alt. metal abnormalities into predictable aggro music that is missing the heart that has always been the band's true strength. The end result is an album that offers a plenitude of moderately heavy tracks that severely lack the passion Spineshank have always shown for their music, making for a rather disappointing release from a fan's perspective, but one that should serve well as an introduction for new, less demanding listeners.