Whether you believe this is a 'real' Queensryche album by the 'real' Queensryche is not particularly relevant. What is true is that this album is written by the same writers that have produced the majority of the songs from the last three Queensryche albums, those being Operation: Mindcrime II, American Soldier and Dedicated to Chaos. So with that being the case, it is the opportunity for Geoff Tate and band to make a statement, and show the world exactly what their vision is for their brand of the Queensryche name.
Well, you probably know how the story turns out without even having to read any more of this review. In simple terms, if you enjoyed those three aforementioned albums, you will most likely find something here that you will enjoy. If you felt that, for the most part, those three albums were the shite topping on the pile of vile excrement that has been Queensryche's career for the past decade, then you will not be brought out of your disappointment haze with this release.
There was a little promise early on. The first single "Cold" is slightly catchy if not blessed with anything memorable in the speed or musical departments. What is problematic is that you are already bored with the album halfway through this song. That's right people, from the opening riff I had hopes, and then less than 90 seconds later I was struggling.
Many of the songs lyrically seem to be referencing the demolition of this band's relationships from twelve months ago, which is not a bad situation to try and draw some inspiriation to make an album. Hell, Masterplan's eponymous debut a decade ago did it brilliantly. But here the lyrics appear mostly childish, sloppy, and far too repetitive in many cases to make any effect except to make you feel like asking him to get off the case. "Dare" does this, it just goes on too long to enjoy. "Give It to You" is the first real indication that nothing is going to change musically from the last couple of albums. The songs have the same grunge guitar and maudlin pace and whining vocals that cruelled those records. When Geoff is crooning "How do you like me so far?" you can hear millions of people giving him the answer that he probably doesn't want to hear.
Not everything is a dead loss here, but it is only the occasional interjections from guest musicians that are the highlights. K.K. Downing's guitar solo in "Running Backwards" is the best moment of the album - that's how striking it is when it rips in to save what is, apart from that, a very average song. Paul Bostaph's drumming also kicks in this. It must be the most damning indictment on an album and its writing when the best moments I can find are the guest guitar solos by guys like Ty Tabor ("Everything"), K.K, Dave Meniketti ("Fallen"), Brad Gillis ("Life Without You") and Chris Poland ("The Weight of the World").
It's also amusing listening to the songs, and on some the bass or the keyboards suddenly seem to be a lot clearer and much more forward in the mix. A quick check of the credits leads to the fact that on those particular songs, Jason Slater is playing those instruments. Seems as though the producer/recorder/mixer (Jason Slater) felt that these needed to be highlighted in these songs.
But just when you thought it was all over, the record company insists that Tate-Ryche re-record four of their songs from their greatest era so that they can tack them on at the end, no doubt as a money spinning opportunity. They apparently also wanted them to sound as close to the original versions as possible. Now, in reality, Geoff should have said no to this request. Why? Because they sound AWFUL, and all they prove is how good these songs and the band was two deacdes ago, and just how much tate's voice is floundering at this point of his career. These versions are just an embarrassment, and if his former band mates actually bother to listen to all of this then I think they will feel very comfortable with their decision from twelve months ago to part ways, for many reasons.
I went into this with an openmind, hoping it would be good. I don't think there can be two bands with the same name, that has to be sorted out. But there is no reason why both bands cannot exist with their seperate futures. What this album does is irrevocably proves who has been in control of the past decade of Queensryche's career, and that I cannot continue down that path. Whether I can continue down the path with the other three-quarters of the band will only be answered once their album comes forth in a few months.
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