40 Below landed significant airplay and was featured on Headbangers Ball with one of two singles, “Self Medicate”. The other, being “Taxi Cab Confession” which by it self, screams such a passion for groovy, rhythmic Rock. Drummer Carlos Aguilar and Bassist Hector Graziani execute this groove lock flawlessly.

Overall, this record just blew my mind. 40 Below has proved with this record that they are much more than a “Nu Metal” band. Track 3, “Rain” is in my opinion, the best song on the record which includes significant musicianship, tasteful rhythmic technicality, heavy metal guitars, anthemic sing-a-longable choruses, and bass grooves straight outta hell.

Vocalist Matt Holt’s demonic screams are best described as coming straight out of satins throat, but don’t let the demon fool you, Holt counter-acts the dark side with very beautiful melodies that shine hope at the end of darkness.

Nothingface landed their break with a song featured on the Freddy vs Jason movie soundtrack called “Ether,” which has a great combination by guitarist Tom Maxwell (Hellyeah) of heavy and melodic guitar riffing, tied with sing-a-longable vocal melodies from Holt. Ether, was a great song for commercial success, unlike the rest of the record in which commercial airwaves would likely disregard due to pure, demonic madness. HERE, is where the band has been cast away commercially due to the chaotic realm of the Death Metal era. Likely,  “I wish I was a Communist” and “Murder is Masterbation” carry some of the strongest aspects of brutality I’ve ever heard. ever.

In 2004, Nothingface parted ways citing musical differences and label troubles. More recently, in 2005 they released a 2 song demo and played as an opening act for Disturbed in 2006. Afterwards, the band was put on hold due to Guitarist Tom Maxwells’ involvement with Hellyeah, but signs to a new album look quite promising.

There are basically two sides of creativity present in this record that define MEDICATION.

First, are very upbeat, straight forward, heavy rock songs with a very bright presence of singer Whitfield Crane’s voice. Songs like, “Loaded gun”, and “Nothing left” are great, but nothing spectacular in comparison to the golden flip side of the record, which contains a much more darker side of Whitfields voice.

Eerie, droneing verses on songs like, “Xanex”, “Super pop”, and “Prince Valium” really define their style, and make you feel as if time is being played in slow motion, serenading your ears until time comes where Logans Madar’s heavy sludge like guitars break into the chorus’s accentuating the passion of Whits vocals much like a “call and response” type of feel.

Mid-Record an interesting acoustic oriented song appears entitled “Underground,” which much seems like It could have come straight out of an Album called “Amalgamut” by FILTER, which is definitely not a bad influence by any means.

Overall, this record contains no flashy guitars or “over-the-top” type of production. Every instrument equally contributes for a great solid sounding record, unfortunately the band is no longer active, but the music will forever live on.