Sometimes even established acts can release underrated, under appreciated, or even under-the-radar gems that most fans (for whatever reason) simply miss. Or just pass on, as the case may be. Such is the case with Suicidal Tendencies’ 1999 album, Freedumb. A true diamond in the rough, Freedumb doesn’t get nearly the attention it deserves, especially compared to some of the other releases from the band’s extensive and highly regarded discograpy. Some critics point to the band’s shift in styles from a Thrash Metal style of attack back to the band’s more traditional Hardcore/Punk sound as a possible reason for the oversight, but there’s certainly no dip in intensity or conviction on the band’s part that would validate this particular argument. Certainly, longtime fans would have welcomed the band’s “return to form”, as it were.

Somewhat less polished than their previous efforts, Freedumb is a raucous return to the band’s formative punk roots. The album as a whole is chock full of the elements that separates Suicidal Tendencies from their peers: bulldozer riffs, anthemic choruses, slap-and-pop bass lines, and funk driven grooves. From the opening riff of the title track, Suicidal Tendencies let loose with a bombastic barrage of unrelenting Hardcore Punk/Metal that is as memorable as it is antagonistic. And while Suicidal Tendencies have long been associated with a rebellious, in-your-face approach to their songwriting, Freedumb is perhaps even more cynical and anarchistic than anything they’ve done previously. As a stand-alone effort, Freedumb easily holds it’s own against any of the classics of the genre; and is actually far superior to many of them.

From the onset, the songwriting duo of charismatic frontman Mike Muir and guitarist Mike Clark leave no room to breathe; with high-octane punk anthems like the title track, ‘Ain’t Gonna Take It’, ‘Scream Out’, and ‘Halfway up my Head’ whipping up the listener’s adrenaline into a rebellious fury. The uncompromising nature of the album as a whole takes you back to Hardcore’s glory days of the 1980’s while still showcasing Suicidal Tendencies’ unique crossover blend of Thrash and west coast Funk. The track ‘Scream Out’ in particular, stands out as an aggressive, yet empowering throwback of an anthem that would appeal to any fan of Hardcore/Punk or proto-Thrash, a la Motörhead, or even The Bad Brains. The energy of ‘Scream Out’ is highly infectious, and I would’ve loved to have seen this out-and-out banger performed live.

But at the end of the day, it’s always been that West Coast surf/funk/skate aspect of their music that has continuously defined Suicidal Tendencies’ signature sound. It’s a style that’s truly unique in the world of extreme metal, and it’s exemplified with the track, ‘Halfway up my Head.’ Mixing heavy guitar distortion, liberal use of the “wah” pedal, up-tempo punk styled drum work, and Ska flavored breakdowns, ‘Halfway up my Head’ is the perfect example of the crossover sound that Suicidal Tendencies not only helped create, but also perfected. It’s essentially a microcosm of Freedumb as a whole, and that’s not a bad thing. The varied styles employed by Suicidal Tendencies throughout the length of the album (and their storied career, for that matter) create a potent and highly enjoyable stew that’s been well worth listening to repeatedly over the past two-plus decades.

It isn’t until the album’s seventh track, ‘Naked’, that Muir, Clark, and company finally slow things down a bit. Not quite a ballad in the traditional sense, ‘Naked’ plays out more closely to their timeless fan favorite, ‘I Saw Your Mommy’ in terms of musicianship, although lyrically ‘Naked’ is very different. And while it doesn’t quite fit with the high energy intensity of the first half of the album, ‘Naked’ is well placed in the track listing, and serves well to separate the first and second half of Freedumb.

The back half of Freedumb is every bit as frenzied as the first, bursting with fist-pumping monsters like ‘Hippie Killer’, ‘Built to Survive’, and the particularly raging (and catchy) ‘Get Sick’. The stomping track ‘We Are Family’ is a memorable anthem in the best Suicidal Tendencies tradition, lyrically and musically; while the aforementioned ‘Get Sick’ is an instant classic that’s simply made to be played live. This song is an energetic jackhammer that would be a highlight on any Suicidal Tendencies album from any era of the band’s career.

Freedumb ends on an uplifting note, with the inspiring ballad, ‘Heaven’, closing out the US release of the album in fine fashion. It’s an excellent way to wind down the album after the chaos and anarchy of the previous 13 tracks without dragging the listener down through some unnecessary and contrived tear-jerker. But in the end, that’s what has always made Suicidal Tendencies great. They’ve always created great music on their terms without ever compromising their integrity or their loyalty to their fanatical legion of fans.

Overall, Freedumb is an outstanding album that deserves far greater recognition from fans than it’s received over the years. It still holds up incredibly well with the passing of time, and is well worth listening to…. Loudly and repeatedly.

Freedumb was released 5/18/99 via Suicidal Records and Side One Dummy.