Queensryche - Queensrÿche
By John Knowles
MARK YOUR CALENDARS for Tuesday, June 25th! The wait is practically over for one of the best metal releases of the year. For Queensrÿche fans the wait for a true Rÿche album has lasted for nearly 20 years. Of course, many Queensrÿche records have been released in the last 20 years, but for true fans June 25th marks the return & rebirth of one of the most important bands in heavy metal history. The album is a return to form that showcases sounds and styles not found on a Queensrÿche record for years. This is easily the bands heaviest record since Empire, and arguably their greatest piece of work since 1994’s Promised Land.
The new album is titled simply, Queensrÿche, and features a fairly basic cover image with the infamous “Tri-Rÿche.” The title and cover shows the Seattle legends seemingly opting for a more subtle approach. In the beginning there was the Queensrÿche EP, and now 30 years later this band has chosen to release a full-length album of the same name, and represent a new drive, a new energy, and a new beginning for the next step of their career. Perhaps by a choosing a cover featuring a bold image of their classic logo they are choosing to highlight an optimistic look towards the future: They are Queensrÿche, and this is what they have, and should have always been about. This is the first Queensrÿche release to feature new vocalist Todd La Torre, and also the first to prominently feature the contributions and talents of guitarist Parker Lundgren.
The album opens up with the bombastic, heavy, effects-driven instrumental piece “X2” which really sets the pace for the rest of the record. Given drummer Scott Rockenfield’s proclivity for TV and film scores, as well as having founded a sound effects studio, he no doubt had a huge part to play in this opener. Founding member and guitarist Michael Wilton has commented in recent interviews about the very collaborative nature of this new record, so I had high expectations for what a fully united and unified Queensrÿche offering would sound like. What I understand by the term collaborative is that you will find writing credits from everyone on this record, but not necessarily five names attached to each song. There are even full songs written by different members of the band. Everyone’s voice and style is clearly represented on this record, and it makes for an incredibly cohesive release.
“X2” blends right into the second track of the record, “Where Dreams Go To Die.” This track is heavy like the band has not been in years. It also marks the return of the classic dual harmonies that Chris DeGarmo and Michael Wilton perfected in the 80s. Queensrÿche always had a way of writing really interesting and unique guitar parts, and this track lets you know they still have that capability. The build-up in the beginning of this track reminds me of the sounds heard on Rage For Order’s “Screaming In Digital”. There’s the driving drum pattern, the heavy rhythm guitars, and epic lead work all working together to showcase the ban’s triumphal return. All of this leads right into the albums first vocal lines. This track marks the first appearance of Todd La Torre on the album, and makes his presence known in a mighty way. “So here we are again...” are the first words sung, and these words will ring true and cut to the hearts of fans in a big way. La Torre has quite a range, and the band definitely highlights that on this first full-length track. In a recent posting on the band’s Facebook, Scott wrote, “Working with Jimbo and the addition of Todd has revitalized the band in ways we never knew until we heard the final results.” That quote about sums up the impression I got from the first few tracks on this record. One final thing to mention about this song is the contributions of Lundgren. Wilton has stated that Lundgren wrote the music to this amazing opener, and it is quite an amazing accomplishment for the newcomer to compose a song that sounds completely true to the band’s back catalogue, and seamlessly blends with the remaining tracks on the album. This kid is incredibly talented.
“Spore” is the next track to follow and it is a straight-forward metal assault. It features all the classic Queensrÿche elements, including a very melodic and memorable chorus. Starting at around two minutes into the song, the instrumental section is just mind-blowing. It contains mid-eighties era Queensrÿche greatness, due to the unconventional guitar leads that forsake the typical harmonic approach. What I loved about those early Queensrÿche records was their approach to melody, and this instrumental section features an almost haunting, dissonant sounding melody that resolves beautifully back in to the song’s chorus.
Track four, entitled “In This Light” brings down the intensity slightly but reaffirms the bands sense of melody and harmony. The chorus on this song is absolutely stunning, and reminds me of why I will always be a Queensrÿche fan. Writing credits on this beautiful song go to Mr. Rockenfield, and as a long time fan of the band, I think it’s a real shame we didn’t hear more from this man over the last 20 years. If this track is any indication of what he has been capable of, I cannot wait to hear more in the future. This song is truly amazing and the album highlight for me. The albums first single, “Redemption” follows and delivers that classic, Empire-era sound. This track reminds me a lot of “Hand On Heart” with a little bit of the attitude of “Operation: Mindcrime.” I had the opportunity to hear the band perform this track live alongside their older material, and it really holds its own.
The titles of many of the albums songs are poignant to say the least. This album will not only redeem the band to the fanbase but also vindicate this version of Queensrÿche as the true and rightful bearers of the name. “Vindication” is the sixth track on the album and showcases some of the best performances from each member. Scott throws in some very intricate and well-developed drum fills, while La Torre hits some of his highest notes. Founding member and bassist Eddie Jackson keeps this track moving with driving intensity reminiscent of “The Needle Lies,” while Wilton and Lundgren launch into a dual guitar solo that would fit in anywhere on Operation: Mindcrime.
The album’s seventh track, “Midnight Lullaby” is another instrumental effects-laden piece that demonstrates the brilliance of Scott Rockenfield. This leads right into “A World Without,” the lyrics of which were written by Lundgren and seem to be a deeply personal and compelling journey. This track also features some subtle vocal overdubs by Pamela Moore, and is just overall a great, heavy, emotional and powerful ballad. It encompasses the darkest moments of “Silent Lucidity,” “Anybody Listening?,” and “Someone Else?,” but with a really fresh approach. As much as I love the fast, dual guitar solos featured on this disc, I think my favorite solo on the album is on this song. It contains all of the feel and presence of a classic Wilton or DeGarmo solo, but with a unique sense of intensity. This is seriously a highlight of the album and showcases some of its best songwriting.
The driving verses of the next track, “Don’t Look Back” remind me a lot of Judas Priest, who have certainly been an influence on the band. However, this leads into an unmistakably Queensrÿche sounding chorus. While the previous song allowed La Torre to really show off the full capacity of his melodic range, this song showcases his metal side to its fullest extent. He hits notes reminiscent of what fans remember on “Prophecy” with punishing intent. The track closes with the familiar Geoff Tate-style spoken word effect. I am not sure if it was La Torre or another band member who pulled that off, but it is very cool.
Next we come to the musical contributions of Eddie Jackson. “Fallout” is a very anthemic song, and carries on at full speed and intensity for its entire length. It is a necessary precursor to the album’s heartfelt and emotional closer, “Open Road.” This is another amazing ballad that reminded me a lot of “Anybody Listening?” I don’t mean to draw too many comparisons to their back catalogue, as these new songs only share a similar feel. While I didn’t hear anything on this record that was truly unlike anything else from a previous Queensrÿche release, I must say that this record reveals a band that has been rejuvenated, and showcases the sounds fans have wanted to relive on a Queensrÿche record for many years. “Open Road” showcases La Torre’s most passionate vocal performance in my opinion. The lyrics are deeply personal and moving, and makes for a great album closer. The string arrangements on this track are some of the best sequencing I’ve heard on a Queensrÿche release in years, and conclude the album beautifully.
Aside from the songwriting, the album sounded great. There has been a lot of talk out there regarding Geoff Tate’s sonic blunder on Frequency Unknown, but this Queensrÿche release sounds full and rich. The album undoubtedly owes a lot to the production talents of James Barton, who co-produced and engineered Queensrÿche’s best work in the past.
My overall review of the album is that it is a solid Queensrÿche release that the fans have been missing and desiring for a long time. To elaborate on my previous review following the release party, this album is actually quite ground breaking for a band like Queensrÿche. While it does not necessarily showcase any truly original ideas for them, its amazing how this group of men were able to tap into the same creative flow and energy that they departed from nearly 20 years ago. Many other artists have tried that and failed miserably. Queensrÿche however have managed to deliver on an album that would not sound out of place following Operation: Mindcrime, but with a sound that’s still fresh, alive, and genuine. This a release that’s many years overdue, and now almost 30 years into their career, Queensrÿche prove that they have the drive to reinvent themselves, and release a solid album they and the fans can be proud of. In lieu of writing any lengthy comparisons between the quality of this record, and Geoff Tate’s latest Queensrÿche release, I will say only that one of things I love about this album is that there are no cheap shots - either musically or artistically - directed at the fans, public, or other artists, just an album that is sure to blow your mind. And also that this review - and those that follow - along with albums sales and streams, will speak for themselves.
In March of 2013, the band announced that they had signed with Century Media Records for the release of this new album. This label features some of the finest acts in modern metal music, and I was anxious to hear how the legendary Queensrÿche would sound alongside a younger roster. After repeated listens I can say without a doubt that this band is truly firing on all cylinders, and the sounds on this record hold their own against any modern day melodic metal release. One of the innovators of the American progressive metal movement have returned, and from the sound of things it appears they will be around for many years to come, showing the world and the younger metal population that they have still got it, and are still relevant to today’s audiences. I think this new album will certainly break down barriers between themselves and younger metal fans. I can’t wait to see them on tour, and I’m sure there will be a younger generation of fans there who will have discovered Queensrÿche for the first time as a result of this new album.
Queensrÿche’s new self-titled release, Queensrÿche will be available in the States June 25th on Century Media Records.
https://www.facebook.com/QueensrycheOfficial
Official Queensrÿche Site
BUY Queensrcÿhe
By John Knowles
MARK YOUR CALENDARS for Tuesday, June 25th! The wait is practically over for one of the best metal releases of the year. For Queensrÿche fans the wait for a true Rÿche album has lasted for nearly 20 years. Of course, many Queensrÿche records have been released in the last 20 years, but for true fans June 25th marks the return & rebirth of one of the most important bands in heavy metal history. The album is a return to form that showcases sounds and styles not found on a Queensrÿche record for years. This is easily the bands heaviest record since Empire, and arguably their greatest piece of work since 1994’s Promised Land.
The new album is titled simply, Queensrÿche, and features a fairly basic cover image with the infamous “Tri-Rÿche.” The title and cover shows the Seattle legends seemingly opting for a more subtle approach. In the beginning there was the Queensrÿche EP, and now 30 years later this band has chosen to release a full-length album of the same name, and represent a new drive, a new energy, and a new beginning for the next step of their career. Perhaps by a choosing a cover featuring a bold image of their classic logo they are choosing to highlight an optimistic look towards the future: They are Queensrÿche, and this is what they have, and should have always been about. This is the first Queensrÿche release to feature new vocalist Todd La Torre, and also the first to prominently feature the contributions and talents of guitarist Parker Lundgren.
The album opens up with the bombastic, heavy, effects-driven instrumental piece “X2” which really sets the pace for the rest of the record. Given drummer Scott Rockenfield’s proclivity for TV and film scores, as well as having founded a sound effects studio, he no doubt had a huge part to play in this opener. Founding member and guitarist Michael Wilton has commented in recent interviews about the very collaborative nature of this new record, so I had high expectations for what a fully united and unified Queensrÿche offering would sound like. What I understand by the term collaborative is that you will find writing credits from everyone on this record, but not necessarily five names attached to each song. There are even full songs written by different members of the band. Everyone’s voice and style is clearly represented on this record, and it makes for an incredibly cohesive release.
“X2” blends right into the second track of the record, “Where Dreams Go To Die.” This track is heavy like the band has not been in years. It also marks the return of the classic dual harmonies that Chris DeGarmo and Michael Wilton perfected in the 80s. Queensrÿche always had a way of writing really interesting and unique guitar parts, and this track lets you know they still have that capability. The build-up in the beginning of this track reminds me of the sounds heard on Rage For Order’s “Screaming In Digital”. There’s the driving drum pattern, the heavy rhythm guitars, and epic lead work all working together to showcase the ban’s triumphal return. All of this leads right into the albums first vocal lines. This track marks the first appearance of Todd La Torre on the album, and makes his presence known in a mighty way. “So here we are again...” are the first words sung, and these words will ring true and cut to the hearts of fans in a big way. La Torre has quite a range, and the band definitely highlights that on this first full-length track. In a recent posting on the band’s Facebook, Scott wrote, “Working with Jimbo and the addition of Todd has revitalized the band in ways we never knew until we heard the final results.” That quote about sums up the impression I got from the first few tracks on this record. One final thing to mention about this song is the contributions of Lundgren. Wilton has stated that Lundgren wrote the music to this amazing opener, and it is quite an amazing accomplishment for the newcomer to compose a song that sounds completely true to the band’s back catalogue, and seamlessly blends with the remaining tracks on the album. This kid is incredibly talented.
“Spore” is the next track to follow and it is a straight-forward metal assault. It features all the classic Queensrÿche elements, including a very melodic and memorable chorus. Starting at around two minutes into the song, the instrumental section is just mind-blowing. It contains mid-eighties era Queensrÿche greatness, due to the unconventional guitar leads that forsake the typical harmonic approach. What I loved about those early Queensrÿche records was their approach to melody, and this instrumental section features an almost haunting, dissonant sounding melody that resolves beautifully back in to the song’s chorus.
Track four, entitled “In This Light” brings down the intensity slightly but reaffirms the bands sense of melody and harmony. The chorus on this song is absolutely stunning, and reminds me of why I will always be a Queensrÿche fan. Writing credits on this beautiful song go to Mr. Rockenfield, and as a long time fan of the band, I think it’s a real shame we didn’t hear more from this man over the last 20 years. If this track is any indication of what he has been capable of, I cannot wait to hear more in the future. This song is truly amazing and the album highlight for me. The albums first single, “Redemption” follows and delivers that classic, Empire-era sound. This track reminds me a lot of “Hand On Heart” with a little bit of the attitude of “Operation: Mindcrime.” I had the opportunity to hear the band perform this track live alongside their older material, and it really holds its own.
The titles of many of the albums songs are poignant to say the least. This album will not only redeem the band to the fanbase but also vindicate this version of Queensrÿche as the true and rightful bearers of the name. “Vindication” is the sixth track on the album and showcases some of the best performances from each member. Scott throws in some very intricate and well-developed drum fills, while La Torre hits some of his highest notes. Founding member and bassist Eddie Jackson keeps this track moving with driving intensity reminiscent of “The Needle Lies,” while Wilton and Lundgren launch into a dual guitar solo that would fit in anywhere on Operation: Mindcrime.
The album’s seventh track, “Midnight Lullaby” is another instrumental effects-laden piece that demonstrates the brilliance of Scott Rockenfield. This leads right into “A World Without,” the lyrics of which were written by Lundgren and seem to be a deeply personal and compelling journey. This track also features some subtle vocal overdubs by Pamela Moore, and is just overall a great, heavy, emotional and powerful ballad. It encompasses the darkest moments of “Silent Lucidity,” “Anybody Listening?,” and “Someone Else?,” but with a really fresh approach. As much as I love the fast, dual guitar solos featured on this disc, I think my favorite solo on the album is on this song. It contains all of the feel and presence of a classic Wilton or DeGarmo solo, but with a unique sense of intensity. This is seriously a highlight of the album and showcases some of its best songwriting.
The driving verses of the next track, “Don’t Look Back” remind me a lot of Judas Priest, who have certainly been an influence on the band. However, this leads into an unmistakably Queensrÿche sounding chorus. While the previous song allowed La Torre to really show off the full capacity of his melodic range, this song showcases his metal side to its fullest extent. He hits notes reminiscent of what fans remember on “Prophecy” with punishing intent. The track closes with the familiar Geoff Tate-style spoken word effect. I am not sure if it was La Torre or another band member who pulled that off, but it is very cool.
Next we come to the musical contributions of Eddie Jackson. “Fallout” is a very anthemic song, and carries on at full speed and intensity for its entire length. It is a necessary precursor to the album’s heartfelt and emotional closer, “Open Road.” This is another amazing ballad that reminded me a lot of “Anybody Listening?” I don’t mean to draw too many comparisons to their back catalogue, as these new songs only share a similar feel. While I didn’t hear anything on this record that was truly unlike anything else from a previous Queensrÿche release, I must say that this record reveals a band that has been rejuvenated, and showcases the sounds fans have wanted to relive on a Queensrÿche record for many years. “Open Road” showcases La Torre’s most passionate vocal performance in my opinion. The lyrics are deeply personal and moving, and makes for a great album closer. The string arrangements on this track are some of the best sequencing I’ve heard on a Queensrÿche release in years, and conclude the album beautifully.
Aside from the songwriting, the album sounded great. There has been a lot of talk out there regarding Geoff Tate’s sonic blunder on Frequency Unknown, but this Queensrÿche release sounds full and rich. The album undoubtedly owes a lot to the production talents of James Barton, who co-produced and engineered Queensrÿche’s best work in the past.
My overall review of the album is that it is a solid Queensrÿche release that the fans have been missing and desiring for a long time. To elaborate on my previous review following the release party, this album is actually quite ground breaking for a band like Queensrÿche. While it does not necessarily showcase any truly original ideas for them, its amazing how this group of men were able to tap into the same creative flow and energy that they departed from nearly 20 years ago. Many other artists have tried that and failed miserably. Queensrÿche however have managed to deliver on an album that would not sound out of place following Operation: Mindcrime, but with a sound that’s still fresh, alive, and genuine. This a release that’s many years overdue, and now almost 30 years into their career, Queensrÿche prove that they have the drive to reinvent themselves, and release a solid album they and the fans can be proud of. In lieu of writing any lengthy comparisons between the quality of this record, and Geoff Tate’s latest Queensrÿche release, I will say only that one of things I love about this album is that there are no cheap shots - either musically or artistically - directed at the fans, public, or other artists, just an album that is sure to blow your mind. And also that this review - and those that follow - along with albums sales and streams, will speak for themselves.
In March of 2013, the band announced that they had signed with Century Media Records for the release of this new album. This label features some of the finest acts in modern metal music, and I was anxious to hear how the legendary Queensrÿche would sound alongside a younger roster. After repeated listens I can say without a doubt that this band is truly firing on all cylinders, and the sounds on this record hold their own against any modern day melodic metal release. One of the innovators of the American progressive metal movement have returned, and from the sound of things it appears they will be around for many years to come, showing the world and the younger metal population that they have still got it, and are still relevant to today’s audiences. I think this new album will certainly break down barriers between themselves and younger metal fans. I can’t wait to see them on tour, and I’m sure there will be a younger generation of fans there who will have discovered Queensrÿche for the first time as a result of this new album.
Queensrÿche’s new self-titled release, Queensrÿche will be available in the States June 25th on Century Media Records.
https://www.facebook.com/QueensrycheOfficial
Official Queensrÿche Site
BUY Queensrcÿhe