American Head Charge, hailing from Minneapolis, Minnesota, emerged as a prominent force in the nu-metal scene. Fronted by the talented yet often underrated vocalist and bassist Chad Hanks, the band carved a unique path with their heavy sound and innovative approach to the genre. This article explores the band's history, their acclaimed album "The War of Art," and the lasting impact of Chad Hanks on the music community.
The Early Years and Rise to Prominence
The band got their start in 1996, releasing the album Trepanation. After settling on the name American Head Charge, the band made their debut on the underground industrial metal scene with their 1999 independent self-released album Trepanation.
Trepanation found large success in the local area, and so began the recording of The War of Art. After supporting System of a Down in Des Moines, Iowa in August 1999, System of a Down's bassist Shavo Odadjian was impressed enough that when American Recordings label owner Rick Rubin asked Odadjian if there were any bands he should check out, he told Rubin about American Head Charge. After the local success of Trepanation and their signing to American Recordings in 2000, the band moved to Los Angeles to begin work on their first major-label album with producer Rick Rubin at the helm, living and recording at his Houdini Mansion.
The War of Art: A Nu-Metal Masterpiece
In 2001, the album The War of Art was released by the American nu-metal band, American Head Charge. The War of Art, released August 28, 2001, sold over 12,000 copies in the United States in its first week and went on to sell over 250,000.
By the end, the album sold 250,000 but because it came out in 2001, it unfortunately suffered due to the events on 9/11, though unlike a good chunk of their nu metal counterparts such as KoRn or System of a Down, they never got banned on the radio. As of today, the album is considered an underrated gem in the community, and only those who are really IN the community appreciate it.
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It’s an album that stands out from a lot of the music at the time, opting out of using a lot of the hip-hop sounds that bands like Linkin Park and Limp Bizkit would use, and were a lot heavier with their sound.
American Head Charge, commencing a live schedule in support of the album, began their professional touring experience on Ozzy Osbourne's 2001 Ozzfest, playing third on the "Second Stage" for the entire tour. They then got a slot on the Pledge of Allegiance festival tour, headlined by Slipknot, No One, Mudvayne, Rammstein, and System of a Down. Guitarist Dave Rogers marked their concluding show of this tour in New Jersey by playing the entire concert naked; this led to his subsequent arrest.
Analyzing Key Tracks
"A Violent Reaction"
Starting with the first track, A Violent Reaction, you’re immediately blasted with a riff that would easily destroy a pair of speakers. To start an album off with probably one of the heaviest songs on the album is a pretty ballsy move on the part of AHC. This song sounds like it would fit perfectly for someone like Jon Moxley, former AEW World Champion. A Violent Reaction uses a sample of the siren in the pre chorus, something that was very unexpected, and if you aren’t exactly using a pair of headphones, is probably harder to hear due to the hard-hitting riff. While the lyrics aren’t necessarily anything to write home about, as it’s just your standard nu metal angst, the sound of this one song is what sets it apart, especially given where the track was placed.
KoRn, Bizkit, System, and the like all start their albums off with an intro of sorts. Slipknot’s Self-Titled from 1999 started with a sample from a Charles Manson documentary of a woman saying “The whole thing, I think it’s sick” but not American Head Charge, they use this opportunity to just blast anyone daring to take a listen.
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"Effigy 23"
Track 8, Effigy 23, begins with a riff which doesn’t exactly fit with Chad Hank’s vocals. While the first half of the song has more of Chad’s singing voice, it doesn’t stop the riff from being any softer. The song’s lyrics, while its meaning is not outright known, seem to indicate more of that raw, nu metal angst. Something about a dysfunctional relationship, the point of view being from someone who was created on. This song could serve as an anthem for those dealing with that, and Chad’s harsh vocals during the bridge, makes the singer almost feel that same energy.
This is one of the few songs on this album with a few stop and go points, all leading up to the bridge. This isn’t something you really see with nu metal albums, as the formula is usually just maybe an intro, pre chorus, chorus, maybe a breakdown, and then chorus, sometimes another chorus, and end. To have two bridges sets this song apart from not just a lot of nu metal tracks but the entire album.
"Nothing Gets Nothing"
The final track, Nothing Gets Nothing, is a very disorienting song. Starting off with what appears to sound like some mixed-up voices pitched up, which leads to drummer Chris Emery’s best work on the entire album with that instrument. A bit of a formulaic song, as most who aren’t really into nu metal or interested in the genre may feel like this song feels like all their other songs, but what stands out on this song is both Chad’s vocals on the pre chorus, as it almost sounds like he’s speaking through a megaphone.
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A unique approach to the final song. Chad’s vocal’s only get better on Nothing Gets Nothing when the listener reaches the chorus, becoming very opera-like. The most unique thing about this song is it’s finish. American Head Charge decided to just cut it entirely. No time to cool off with some white noise, no secret song, nothing. It feels almost unsettling and abrupt. To do this at a time where most bands were doing actual outros is unusual.
Hiatus, Tragedy, and Later Years
After a two-year hiatus, drugs had taken control of much of the band. According to their MySpace page, three members of the band had become chemically dependent, with two of them going back into rehab. Guitarist Bryan Ottoson even stated that the band looked so doomed that he was almost checked into a mental institution for fear of suicide.
During the demo process, The War of Art producer Rick Rubin became increasingly elusive, and the band subsequently asked to be let out of their recording contract. Rubin respected their request without any legal squabbles. In July 2004, the band signed with DRT Entertainment.
The Feeding was released on February 15, 2005. The Feeding spawned one radio single "Loyalty". Guitarist Bryan Ottoson died on April 19, 2005,[9] at the age of 27 in the middle of a tour conducted with the bands Mudvayne, Life of Agony, and Bloodsimple. The musician's body was found lying on a sleeping bunk on the band's tour bus in North Charleston, South Carolina, where the group was scheduled to perform at the Plex club.
On November 12, 2017, founding bass player Chad Hanks died at the age of 46, after being diagnosed with a terminal illness. A benefit and memorial concert to Hanks was held on Sunday, November 26, 2017, at the iconic First Avenue Mainroom in Minneapolis, MN, just two weeks after his death.
On April 11, 2018, vocalist Cameron Heacock was arrested in Costa Mesa, California while driving an allegedly stolen van full of stolen items, including over a dozen guitars, nine of which were lifted from a Guitar Center in Fountain Valley.
The Enduring Appeal
All in all, this album is truly a masterpiece, a league of its own. It’s one that has essentially fallen to the wayside as nu metal became less and less popular, as people opted for more radio rock bands like Imagine Dragons. However, nu metal is coming back, at least online.
Today, this album is regarded highly as one of the standouts of the last true subgenre of rock.
American Head Charge Discography
| Title | Year | Label |
|---|---|---|
| Trepanation | 1999 | Self-released |
| The War of Art | 2001 | American Recordings |
| The Feeding | 2005 | DRT Entertainment |
| Shoot (EP) | 2013 | Self-released |
| Tango Umbrella | 2016 | Napalm Records |
