A very positive review by RodrigoAltaf:
https://www.sonicperspectives.com/album-reviews/queensryche-the-verdict/
Where is the balance? It's a review, and I know all of those are subjective. But the old reporter in me can't help but notice that nothing in that review whatsoever has anything even remotely critical to say of the album. That's not a knock on Rodrigo AT ALL. Clearly, he was passionate about what he heard, and he's relaying his feelings. But when a review leaves out any critical commentary, it always leaves me with a feeling that I can't trust the review.
That said, the record's songs were described well, and thumbs up to Rodrigo for really illustrating that. One correction I'd like to point out though. It has to do with this statement:
Caught in a lifelong identity crisis, the band’s sound seemed to be pushed and pulled in all directions: main-man Geoff Tate seemingly wanted a more accessible approach, whereas the other members wanted to stick to their roots.
That's not at all accurate. Queensryche was never in any sort of "identity crisis." Their sound morphed, very much on purpose, from record to record, up through Tribe, and particularly through the tenure of the original lineup (EP-HITNF). That was very much a tenet of the band's creative identity - they prided themselves on that sonic evolution from record to record, and yet still maintaining a distinct sound that pulled it together as "Queensryche."
That sort of ended in 2006, when Tate went outside the band to write and record Mindcrime II and the records that followed. But to categorize Queensryche as being in a "lifelong identity crisis," is absolutely untrue.
In addition, regarding the comment about Tate, while I obviously don't speak for him, the statement regarding him wanting "a more accessible approach" is also untrue. The tension between the band and Tate had nothing to do with Tate wanting the music to be accessible. From a creative standpoint, it was more about control, rather than the actual music. For example, one of the most metal and heaviest riffs that made it on a Queensryche record was the one in Murderer. That riff was Michael Wilton's, and Tate loved the riff. But that's all WIlton had -- the riff. And not being a music writer, Tate really had nothing but that riff to go on. It took a third party (in this instance, Jason Slater) taking that riff, and turning it into a song, which Tate then could put lyrics and a melody to.
Without going too off topic, that's sort of why DeGarmo was absolutely so vital to the band. He'd take a lot of those Wilton riffs, and put it into something that really connected to Tate. That's why the three of them were so good together. Nowadays, with La Torre being a musician himself, and capable of playing guitar, he can take a Wilton riff, and add to it, change it, etc. So in that regard, it is easier now for Wilton (without DeGarmo) to really get creative, because he has a singer that can also write music and take his ideas different directions musically.
So, getting back to the statement, the tension wasn't about wanting more accessible music. It was about control, power, and money. That doesn't really flow well in a review, but that's really what it boiled down to.
Topic: Official Queensryche thread: Kickstart the next album (Read 691871 times)
