蟑螂老爹乐队第三张专辑《Getting Away With Murder》(浩劫余生)于2004年发行,唱片全面强攻了英国专辑榜冠军以及美国专辑榜TOP17的位置,并且再次达成了全球销量超过两百八十万的白金大碟。而且专辑中的主打曲之一Scars也拿下了2005年公告榜单TOP100的TOP15的位置,公告牌连续50周在TOP40前的位置。
风格上这张专辑不同于前两张专辑,不再是新金属(Nu Metal)和说唱金属风格。这张专辑没有说唱元素,而展示了乐队主唱雅各比·沙迪克斯歌声的旋律。
by Johnny Loftus
Howard Benson, Chris Lord-Alge, Papa Roach. It's gotten to the point where you can fill in the last name with another combo of mascara-eyed angry men jockeying for position in the bubbling ooze of the post-rap-rock (yes, that's a term) universe. Producer Benson and mixer Lord-Alge are professionals both, masters of compression and punching up the radio mix. This is what they offer Papa Roach -- a promise that the band's Getting Away With Murder will sound both raging and properly marketable. To that end, "Not Listening" rewrites the 2001 Roach hit "Last Resort" without the rap, while the big title-track single is built around a mechanistic Korn bass throb and a carnival funhouse lead guitar line. The better to scare you with, see. On the latter, Jacoby Shaddix (the name change still stands) incorporates the affected whisper, the vengeful yell, and the vague lyrical cocktail of depression and S&M ("I'm a glutton for your punishment/You're the master/And I'm waiting for disaster"). Fill in the bruised blanks. His railing against alcoholism in the bashing, amplified rocker "Be Free" (as well as throughout the album) does seem genuine. But still, it's off-putting how much Shaddix sounds like Trent Reznor. Seriously, where's Papa Roach inside Getting Away With Murder's production and brand positioning? "Scars" is a midtempo power ballad of sorts, again about the ills of drinking; with tweaking it would fit on a Good Charlotte album. Album opener "Blood" (Empty Promises)" does suggest the harder screeds of 2002's lovehatetragedy, but it doesn't go far enough, and that tense edge is dulled by repetitive glowering ("I lit my pain on fire/And watched it all burn down!") and muddled genre posturing once the album fully starts. With Getting Away With Murder, Papa Roach offer fans of this sound an appropriately hard (yet painstakingly layered -- thanks Howard and Chris!) punch in the face. But there's a hollow sound as the bones collapse, because all that's supporting it is expensive art direction and a big scaffold of clichés. If your scream sounds like everyone else's, does anyone really hear it?