(həd)^p.e., which has the weirdest punctuation o’ maybe any band name, is a criminally underrated nu-metal band, especially their classic 2000 album, Broke, which is still an absolute banger, blending in punk & mo’ believably hip hop elements than most nu-metal bands for a much wilder sound.

1. Killing Time

We start with what I think is the best song, starting with those memorable noisy notes, 1st sparsely broken up by long, awkward pauses, & then building into droning regularity. Then we get verses where the singer ironically smoothly croons in his raspy voice ’bout what a fuck up he is, laying around all day doing drugs & watching Jerry Springer, before repeating, “just killing time…”, in an eerily calm voice & then breaking out into a manic snakelike screaming during the chorus, “¡KIIIIIIIIIISSS THE WOOOORLD GOODBYYYYYYYE!”. Then in the 2nd verse we get a different singing style: now the singer is pleading excuses for his empty life. & then during the bridge we get a hammy incoherent rant that seems to vaguely references the 2012 apocalyptic theories based on ( a misinterpretation o’ ) the Mayan calendar & Christian eschatology:

i keep my eyes on the stars
that’s where i come from
belt of orion
son of a sun god
you know my name i’m a conqueror
the lion king kamehameha come
2012 come 12 tribes
come 12 strands come 12 lives
12 steps 12 months 12 motherfuckas
will all make bail kicked ’cause o’ the crowded jail
sex & violence sells
12 serial killers 12 dead without a trail or a trace
it’s prime time the fight night pay per view suicide
the bee sting butterfly

Grade: S

2. Waiting to Die

“Waiting to Die” continues the nihilist theme o’ “Killing Time”, but is, if one could believe it, e’en mo’ unhinged audibly, with the singer growling the profanity-laden verses with weird up-&-down rhythms followed by screaming @ the edge o’ his voice, “¡EVERYBODY DIES!” repeatedly. It’s not quite as interesting as “Killing Time”, but I certainly love its frantic energy.

Grade A

3. Feel Good

This is the most well-known hit from this album, probably partly thanks to the accompaniment o’ System of a Down frontman Serj Tankian adding his own unhinged energy as they both singing in what sounds like a parody o’ duet sing-alongs, singing in pleading voices how they don’t care if the sky is falling, they just want to feel good, while the verses are made up o’ deep-voiced, mainly monotone rapped verses describing how the world is falling apart much like the previous 2 songs, as well as an inner skit o’ part o’ a conversation o’ someone doing drugs & having sex, & this bizarre section where the singer just says 1-word insults o’ increasing vulgarity sparsely separated by pauses & with particularly heavy, hammy pronunciation, especially on “mothafuckaaah”.

Despite the thematic repetition from the past 2 songs, the lyrics & medley o’ styles sounds distinct, with the lyrics being an anachronistic mix o’ Biblical prophecy — mo’ somber & coherent than the rant @ the end o’ “Killing Time” — & contemporary hiphop boast talk.

In essence, this is yet ’nother crazy-ass song.

Grade S

4. Bartender

This was the other hit from this song — apparently bigger back then, as it actually has a music video. This song goes back & forth from sleazy, smooth, jazzy verses o’ the protagonist trying desperately to get with a woman in a scuzzy bar with footage o’ strippers dancing on poles & standard nu-metal shouting choruses with the typical footage o’ the band playing ’hind a wire fence in front o’ cement walls with graffiti & plenty o’ red light, whose shouts o’, “I JUST WANT YOUR COMPANY”, only emphasize the protagonist’s desperation. The bridge then slows down into a hango’er-like slow slump, repeating the beginning o’ the 1st verse, “ain’t nothin’ working / ain’t nothin’ right / there’s a hole in me that i can’t fill / no matter how hard i try”, showing how li’l the protagonist’s vying for hedonistic excess has gotten him. None o’ this revolutionary artistry, ’course, but this song’s storytelling & the way it matches the music is much mo’ competently done than most o’ the nu-metal I look @. Just compare to something like Hollywood Undead’s magnum opus, “Everywhere I Go”.

Grade: A

5. Crazy Legs

I guess this is the party song, which weirdly remixes the chorus to The Notorious B. I. G.’s “Hypnotize” as its chorus. I think this would’ve worked better coming before “Bartender” instead o’ after: it’s a weird sequence to go from a dour song ’bout the emptiness o’ hedonism to an unironic celebration o’ sex parties. The singer’s performance on the 2nd verse & especially the bridge are great, but this song does feel like 1 o’ the less memorable songs on this album that treads themes that were better done in earlier songs; it kinda just feels like a weaker version o’ the 4 songs preceding.

Grade: B

6. Pac Bell

Thankfully, that song is followed by a much mo’ different song. Yes, it’s an angsty song ’bout troubled relationships & how it’s led the protagonist to suicidal depression; but albums almost entirely dedicated to that theme are hardly rare in nu-metal. Like many o’ the other songs, it’s the singer’s performance in the verses & how he twists his voice in such a deranged way, e’en when saying something as mundane as “¿why the fuck you fucking with me?”, that makes the difference.

E’en mo’ different, howe’er, is the chorus, with its autotune-sounding emotionless singing, “we used to drive all the time”, that sounds mo’ like the kind o’ songs you’d hear in the 2010s, not anything like what I’d hear in nu-metal albums.

To add to the surrealism, this song’s title is “Pac Bell”, the title o’ an ol’ phone company that 2 years later would be bought by AT&T. It’s relevant, since this song is ’bout someone trying to call his ex, & the song does start & end with the robotic voice o’ an automatic operator asking the protagonist, “if you’d like to make a call, please hang up & try again”.

Grade: A

7. I Got You

Wait, ¿this song had a music video, but not “Feel Good”? I ne’er e’en heard o’ this song before now. Granted, listening to this song, I can imagine this song was probably played @ many concerts, as it seems particularly made for such, with the following lyrics in particular seeming to call out to people to dance:

all my people come on
choose your side
you’re a long way from home
but not alone

To be honest, this song’s doesn’t have as much as the others on this album, with much vaguer lyrics — tho I do like the line, “yeah, eat the rich / but pay me motherfucker”. But, ’gain, I just love this singer’s performance, such as the way his voice dies out a li’l in his throat when he says “afraid” in “they are afraid of you” @ the beginning o’ the 2nd verse &, ’course, the houndlike way he barks, “yeah, I got you” in the chorus.

You can most clearly hear Korn’s influence on this bad in this song, with its music-box low, dreary start to the verse & the singer’s low, raspy, menacing sing-songy voice starting, “Mmm mmm mmm mmm…”.

Grade: B

8. Boom (How You Like That)

¿This had a music video, too? ¿How did all these songs have music videos & not “Feel Good”? That must’ve been some blacksheep hit then.

This song has a couple o’ highlights. For me the best being during the bridge when the singer calls out various people to say, “¿how you like that?”, & asks whiteboys to say it & a bunch o’ super honkey voices say it. That’s pretty funny.

That said, while the song in itself is a fun banger, compared to other tracks on this album it feels less interesting, repeating the same themes, with the same vague social commentary you’d find from many lower-tier nu-metal bands like Papa Roach: “we’re so desensitized, we were raised on TV, something something, American Dream”. E’en the call out for various people to shout, “¿how you like that?” goes on too long: ¿did he really need to ask virtually e’ery city in the US? Nothing in this song is cringe a’least.

Grade: C

9. Swan Dive

I’m surprised this song got a music video; but unlike the previous 2 songs, this time I have listened to this song before & this time it’s a pleasant surprise, as I always liked this song with its jazzy verses with the protagonist poetically describing himself climbing up a building, “putting distance between I & I & the ground”, only to then shout ’bout how it’s ’cause he wants to jump off & “swan dive” into the asphalt. In a genre where suicide is typically described either abstractly or with the cliché emo imagery o’ wrist-slitting, a song with the mo’ concrete ( pun not intended ) imagery o’ the very, very brutal death o’ smashing one’s body gainst the street from several stories high is refreshing.

& then in the bridge the protagonist seems to answer — well, maybe not really answer, given how incoherent it is — why he’s suicidal with rants up @ the sky ’bout all the evils in the world, which would be trite if ’twere just him asking, “¿where is the compassion?”, but is made mo’ interesting with bizarre questions like, “tell me, ¿who can control the floods?”, hinting @ the mental disturbance going on in the protagonist’s head, amplified by the bearlike growl the singer employs when answering, “¡NO ONE!”, after each question in the 2nd half.

Grade: A

10. Stevie

( Laughs ). What a weird-ass song:

come on, I’m not deaf or dumb
I’m not little Stevie Wonder
whatever
¡No more lies!

Yes, that’s the chorus & the basis for this song being named “Stevie”. The fact that he caps that imaginative comparison with the bland, “¡No more lies!”, only adds to the absurdity.

Other than that, this is 1 o’ the mo’ middle-ground songs on this album, neither relatively strong nor weak. I do like the jazzy, smooth, & sing-songy 1st 2 verses & the particular way the singer becomes unhinged round the 2nd half o’ the 3rd verse.

Grade: B

11. Jesus (Of Nazareth)

¡✝-rock jump scare!

Actually, unlike corny bands like Thousand Foot Krutch or Skillet, with their Kroeger-brand mass-manufactured WASP evangelism with generic celebrations o’ how wicked ( ¡in a cool way! ) Jesus is & fairy tales o’, um, a psychologist convincing a couple to hold a funeral for the woman’s aborted fetus… this song is much mo’ complex: the singer doesn’t seem to really believe in Jesus, saying to the crucifix on his wall, which inspires paranoid fear rather than hope or comfort, “I can’t believe a single word that you’re saying / I see your lips moving, but nothing’s coming out”, & seems to only be turning to Jesus out o’ pure desperation. & the song ends with the singer expressing doubt that it’ll work:

they’re telling me to take my own life
breathe my last breath, eat my last meal
you got what you deserve
¿how’s that feel?

This deliberate comparison to Jesus with “eat my last meal” makes it ambiguous whether or not the protagonist is criticizing himself or criticizing Jesus, including the line earlier, “mass murder, court convicted, terroristic creature of the night”. I mean, Jesus was convicted by a court; & if Jesus is God in human flesh, there was that whole flood that killed nearly e’ery human; & I would call passover, wherein God killed the 1st-born o’ e’ery non-Jewish-person in Egypt round midnight to scare Egypt into freeing Jewish people the act o’ a “terroristic creature of the night”… I’m probably reading too much into this… Still, a’least I can do that instead o’ just making jokes ’bout Thousand Foot Krutch making a song ’bout being sorry one wasted one’s life just jerking off all the time.

While not mindblowing, I like the shifts from the eerie sparse piano notes — which sound a lot like the ones on “meet the grahams”, just so I can keep talking ’bout that year-ol’ beef — with low bass notes & tired vocals vs. the loud choruses.

Grade: A

11. The Meadow (Special Like You)

( Note: this song also has a music video, but it’s just mo’ concert playing & hanging round their tour bus & doesn’t include the whole 9-minute track ).

This is a nice song, especially with the funk notes in the background, which was not something you saw much in nu-metal. The way the singer’s voice rasps out a bit during the chorus is a nice touch.

E’en better, this song ends with some woman babbling ’bout elephants thru a fast food speaker box.

To add to the absurdity — ’cause e’en this otherwise nice ballad can’t be normal — this track’s dour ending is flipped after a pause with a secret track that’s just outtakes & goofing around. Such is the emotional complexity o’ nu-metal.

Grade: B

Final Verdict

This album unironically holds up much better than most o’ the albums I’ve looked @ in this series, blending some o’ the weirdness o’ nu-metal with much less cringe edgy elements & a much wilder less polished sound. Tho thematically it does get a bit repetitive, stylistically it has mo’ variance & does mo’ that other nu-metal bands didn’t do. It’ll probably ne’er warrant the critical acclaim o’ bands like Sevendust or Deftones; or bands I’ve ne’er heard o’ that are probably only acclaimed on Rate Your Music because they’re obscure like The Shiznit, Ikd-sj, or Stepa; or… ¿Incubus’s S.C.I.E.N.C.E., ranked as the 10th highest rated on Rate Your Music? That’s actually pretty based. I’ll definitely be talking ’bout that 1 eventually…

Anyway, I think this album should be remembered mo’, especially since it makes a better balance o’ being mo’ fun than the drearier o’ acclaimed artists while being less embarrassing than your Limp Bizkits — up there with, like, Korn, maybe.

Final Grade: A