Queensrÿche have been on a hell of a hot streak since they got former Crimson Glory frontman Todd La Torre in and started a band called Rising West, playing material from Queensrÿche’s first EP and first 4 albums, following the departure of their long time legendary singer Geoff Tate.
When they changed their name from Rising West back to Queensrÿche, and released their self-titled album in 2013, (with great tracks like ‘Where Dreams Go To Die,’ ‘Redemption’ and ‘Vindication’), it was an utterly excellent batch of material and the ensuing live shows saw the band energised and revitalised in one of the best late-career renaissances in the history of Metal (up there with the likes of Kreator and Accept for later-year triumphs). The following album Condition Human was a strong follow-up that kept up the quality.
As you can imagine, their third album since this revitalisation, 2019’s The Verdict, is my most anticipated album of this year. When they dropped the pre-release tracks, such as ‘Man The Machine,’ ‘Dark Revierie’ and ‘Blood Of The Levant’ it was every bit as good, if not better, than Condition Human’s pre-release tracks like the excellent ‘Arrow Of Time’ and ‘Hellfire.’
With all these expectations I had built up in my head, I was fearful I had built it up too much and set myself up for disappointment.
After having listened to it both via streaming while I waited for the postman, and on CD repeatedly after delivery, I am happy to inform you that not only is it not a disappointment, but rather it is the best Toddryche album to date. Arguably the band’s best album in a very long time at all, Todd or no Todd.
Even from myself, who doesn’t dislike any Queensrÿche album, (even the controversial ones), this ranks easily in the top half of their discography, top quarter even! I hate statements like “it’s the band’s best album since…’’ but in this case, it really feels true.
The production, (once again by ‘Zeuss’) is brilliant. All instruments are clear and distinct, you can hear the bass at all times, you can separate each guitar from each-other and the drums sound fat and powerful. Speaking of drums; Now that singer Todd La Torre is also playing drums this time around as well as his singing duties while classic drummer Scott Rockenfield is on paternity leave, you also get some drum styles you don’t usually hear on a Queensrÿche album. (Have a quick listen to ‘Launder The Conscience’ and ‘Light Years’ and listen to the beats to see what I mean).
The press prior to this saw Whip telling everyone that this was their heaviest and most progressive album in a while. Usually statements like that are always wrong. Strangely though, again, in this case, it really feels true.
There are some nice heavy moments on here; such as the aforementioned pre-released tracks, ‘Man The Machine and ‘Blood Of The Levant’ as well the very crunchy ‘Inner Unrest’ amonst others, and furthermore, there are some great proggy moments; such as ‘Bent,’ ‘Portrait’ and ‘Inside Out.’ There’s moments that recall the middle-eastern vibes of their American Soldier and Tribe albums, there’s some of the bass-driven textured stuff like their underrated Operation Mindcrime 2 album, and there’s some of the trippy expansive stuff reminiscent of their Promised Land album.
As well as the heavy and proggy stuff, there is just loads of great, catchy, accessible Hard Rock meets Heavy Metal material that has been the core thing tying all of the band’s albums together to date. You can hear bits that sound like the last two albums, like calssic material such as Rage For Order and all sorts of new things as well.
There’s so much great bass guitar parts and lots of space for Todd to show off his impressive vocal range. Album upon album he pushes it further, showing off more and more styles and becoming more of his own thing and moving away from the Geoff Tate style, but still staying close enough that it always sounds quintessentially Queensrÿche. (Take that vocal style and mix it with those really distinctive guitar leads, and you’ve got Queensrÿche in a bottle.)
Overall; its yet another strong Queensrÿche album, but more than that, it is an interesting album, with a strong production, a great range of material, and some of their honestly best material in years, even if they have already been on a very strong run.