2017's Wake Up Call signaled both a sonic and lyrical about-face for the Nickelback-groomed Canadian rockers.

Fans that lamented Theory of a Deadman's dramatic pivot from post-grunge to pop will find cold comfort with the arrival of their seventh full-length effort, Say Nothing, a slickly rendered pastiche of brooding electro-pop and six-string-neutered active rock that comes off like a downcast Maroon 5.

Recorded in London with Wake Up Call producer Martin Terefe (James Blunt, Mike Posner), the ten-song set uses the latter LP's surprise hit "Rx (Medicate)" as a jumping-off point, with frontman Tyler Connolly turning his gaze from the prescription drug abuse epidemic to other zeitgeisty topics like domestic violence ("History of Violence"), poverty ("Affluenza"), racism ("White Boy"), and political polarization ("Strangers").

Connolly's evolution from lurid, self-absorbed bro-magnon to concerned citizen feels genuine enough, and his powerful vocals remain the group's greatest asset, but the end results feel emotionally inert.

Despite the dearth of guitar, Say Nothing is inarguably rooted in the modern rock idiom, with big, chrome-plated bangers like "Black Hole in Your Heart" and "Ted Bundy" aiming for the nosebleed section -- even the less propulsive numbers are designed to (at some point) get your ass outta the seat.

That said, there isn't a single moment on the album that doesn't feel like it was designed algorithmically.

Theory of a Deadman (or just Theory, or TOAD) have never tried to disguise their commercial aspirations, which is probably why they continue to peddle platinum-selling wares, but the polish-to-passion ratio here feels way, way off.