Queensryche Month, Part 7: Review of Here In The Now Frontier

Queensryche’s sixth studio album is widely regarded as the first true misstep of their career. While having a few initial signs of success, it ultimately faded from sight due to their label folding combined with the Seattle group’s futile response to a movement that had already passed. To add insult to injury, guitarist/bandleader Chris DeGarmo left the band shortly after its release despite (or perhaps because of) his overwhelming influence on its development.

For the first time since the days of the EP, Hear In The Now Frontier sees the band emulating the styles of others as opposed to incorporating a wide variety of influences under a signature sound. Despite coming out a couple years after grunge was beginning to decline, Soundgarden and Stone Temple Pilots are the album’s leading aspirations though one can also finds reference to U2, Pearl Jam, and what Metallica was doing around the time. In short, it’s a very basic record that puts a bunch of jams out there without any signs of a bigger picture.

And while there aren’t any prog or ambient touches left, the band hierarchy isn’t too far off from the Promised Land dynamic. The guitars are still the prime focus and while there aren’t any strong riffs or solos on display, they do their job and are backed by a decent rhythm section. And like the EP before it, Tate’s vocals are what keep the music from sounding too generic. However, he has stuck with a mid-range approach that rarely ventures into extreme pitches.

When it comes down to it, the success of Hear In The Now Frontier heavily depends on how the songs themselves are written and presented. Unfortunately, having fourteen songs on a single disc does lead to a mixed bag as several of them end up running together. Fortunately, the running times are short and the songs themselves are pleasant to listen to, but it’s definitely not as consistent as everything that came before it.

In addition, there are still some pretty brilliant songs on here. “Hit The Black” may be the easiest song to get into for established fans thanks to its Mindcrime-esque guitar lines though “Saved” stands out for its explosive Soundgarden-isms and “You” reminds me of KISS with its simple but catchy hook. In addition, “Get A Life” brings in a little heaviness, “Miles Away” and “All I Want” bring in a little pop, and “Sign Of The Times” makes for a decent opener.

Much like Bruce Dickinson’s Skunkworks, Queensryche’s sixth full-length album is an experiment that is pretty enjoyable but ultimately came too late. Its reputation is deserved when you consider its plain presentation and the band’s over the top past, but it is worth looking into for grunge fans and makes for an entertaining character study. And the fact that it’s in every used CD store ever does mean that you won’t have to pay too much for a copy…

Current Highlights:

“Sign of The Times”

“Get A Life”

“Saved”

“You”

“Hit The Black”

Queensryche Month, Part 6: Review of Promised Land

Released four long years after Empire, Promised Land just might be the biggest black sheep of Queensryche’s classic era. While it did go gold and had a few successful singles to its name, a series of personal struggles kept the band from truly capitalizing on their last album’s success and this one remains one of their most obscure to date. These factors do give Promised Land a status not unlike that of Metallica’s Loads, but this album is much more consistent and forward thinking.

While Promised Land isn’t exactly inaccessible, it could be seen as an antithesis of Empire. Trading in big hooks for ambient textures and upbeat hard rock for spacy prog, it may be their most complex effort as well as one of their most restrained in execution. It also manages to be their most cynical as the heavier songs are more about creating a biting atmosphere than a truly metal riff and the lyrics deal with themes of disillusionment and detachment.

But with that, it isn’t as far removed from previous Queensryche albums as one would think. The upbeat “Damaged” plays out like an Empire outtake, the atmosphere on songs like “Dis Con Nec Ted” was forseen on “Della Brown,” and a good bulk of the softer songs on here had their roots in “No Sanctuary” and “I Will Remember” among others.

The band dynamics have also undergone a few changes to match the style. The guitars now seem to be the band’s strongest asset as they jump from a heavy crunch on “I Am I” to gentle acoustics and everything in between. On the flip side, the rhythm section seems to have been scaled back and Geoff Tate’s vocals show their first signs of wear but keep their composure by sticking to a lower range. A few members also get to flex some extra muscles as Scott Rockenfield breaks out the electronics, guitarist Chris DeGarmo plays the piano on “Lady Jane” and “Someone Else,” and Tate showcases his skills with a saxophone to chilling effect on the title track.

If Empire is Dark Side Of The Moon, then Promised Land is Queensryche’s answer to Wish You Were Here. It may not have the status of its predecessors but its classy execution may place it just below Mindcrime on the band’s overall hierarchy. It may be one of their trickiest releases to get into but it’s a hell of a lot easier to recommend than anything that would come out after it…

Current Highlights:

“I Am I”

“Damaged”

“Out Of Mind”

“Lady Jane”

“Someone Else?”

Queensryche Month, Part 5: Review of Empire

Queensryche’s fourth studio release is essentially their equivalent of the Black Album in their discography. It achieved a great deal of commercial success thanks to a combination of strong hit singles and an even more accessible sound. But whether you see Empire as the last good Queensryche album or the beginning of the end, it’s definitely not the sellout that some have made it out to be.

Aside from the obvious lack of story elements, Empire only differ from Operation: Mindcrime in that its production job is more polished and the speed metal influence is completely absent. Fortunately, nothing sounds dumbed down as the band’s kept their tricky rhythms and sophisticated air. If anything, the album has a lot more in common with the stuff that Rush was putting out in the early 80s than anything that was going in 1990.

The polished production job also has the added benefit of accentuating what just might be the band’s tightest and most balanced performance to date. Like Mindcrime before it, every member stands out as the bass frequently drives songs like “Jet City Woman” and “Della Brown” while the vocals opt for a lower range on “The Thin Line” and “Hand On Heart.” In addition, the guitars have a nice shine to them, the drums have a few nifty patterns, and a few dated keyboard effects shake things up on the super motivational “Best I Can.”

And despite that lack of a grand concept, the lyrics are still pretty well written. Most of the songs on here are about relationships but rise above your typical butt rock fare thanks to their focus on a mix of passion, longing, and nostalgia. A few political remnants pop up on the title track and “Resistance” while “Della Brown” predicts the next album with its discussion on fleeting stardom and “Silent Lucidity” matches “Comfortably Numb” worship with the topic of lucid dreaming.

Like Moving Pictures before it, Queensryche’s fourth studio album opts for a more accessible sound while still keeping a good head on their shoulders. The singles may not hit as hard as some of the Mindcrime staples but they carry themselves well and much smarter than their Lowest Common Denominator recognition would have you believe. I’d still recommend one of their older albums to a seasoned prog or metal fan, but I think your mom will love it.

Current Highlights:

“Best I Can”

“Jet City Woman”

“Della Brown”

“Another Rainy Night (Without You)”

“Silent Lucidity”

Queensryche Month, Part 4: Review of Operation: Mindcrime

Just about everyone who remembers progressive music before Dream Theater was a thing could tell you what Operation: Mindcrime did for the genre as well as what it did for Queensryche’s reputation. While the following release was the one that truly pushed the band into the mainstream consciousness, this album paved the way for its success and for the fortunes of many groups that sought to follow in its footsteps. But with that said, there are several ingredients to Queensryche’s legendary concept album that its imitators never got quite right and a few more that seemed to have never crossed their minds…

While Queensryche has never been a band that stopped experimenting with their sound, this album is their first that is completely focused. While The Warning and Rage For Order respectively dealt with contrasting styles and throwing every idea against the wall to see what sticks, Operation: Mindcrime combines every idea that they have had and condenses it down to a style that is distinctly theirs. The speed runs on “Speak” and “The Needle Lies,” the epic “Suite Sister Mary,” and the various interludes may be exceptions to the rule, but every song on here operates on a steady formula of a mid-tempo pace, some well placed riffs, and an incredibly catchy chorus.

The band dynamic has also seems to have undergone a few changes with this release. Geoff Tate’s vocal prowess was originally the ace up Queensryche’s sleeve, but the other band members have all stepped up in their game. There are plenty of riffs that are just catchy as the chorus lines, the production really brings out Eddie Jackson’s bass performance, Scott Rockenfield throws out some nifty drum beats here and there, and they even let the guy bring out some of his electronic influences on “Electric Requiem.” Also worth noting is Pamela Moore’s performance as Sister Mary for she provides some effective theatrics despite only appearing in the second half of a single song.

But what really makes this album stand out is the fact that the band still hasn’t lost sight of the songwriting process. Despite having a pretty lofty concept to handle and the interludes to spar with, no segment goes on for too long and each song is an absolute classic that is just as enjoyable on its own as is in context with the others.

With that to consider, the highlights will certainly depend on the listener’s personal tastes. I’ve always found “Revolution Calling” and “Breaking The Silence” to be the most emotionally stirring though the crossover appeal of “I Don’t Believe In Love” is something that just can’t be ignored. Even the interludes manage to be entertaining as “Anarchy-X” serves as a brief but powerful prelude while “Electric Requiem” and “My Empty Room” make for memorable set pieces.

Speaking of sets, the album’s concept of the trigger-happy junkie who loses his way is one that cannot be ignored. While the Manchurian Candidate meets Romeo And Juliet plot may seem simplistic at times, the themes of individual songs are what truly sell it as each one has its own things to say about the needs for social revolution, political and religious corruption, drugs, and relationships. You may not be asking yourself who killed Mary at the album’s end but you may find yourself quoting the political rhetoric on “Speak” and “Spreading The Disease” from time to time…

A few bands like Kamelot and Savatage came close to replicating the song-oriented story formula of Operation: Mindcrime, but it is a release that cannot be topped and just might the greatest concept album that the heavy metal genre has to offer. The story might be its biggest talking point but the songwriting and band performances are what truly push it into an ethereal level. And whether you end up listening to the whole thing or just downloading its singles, I think you just might come out of it at the same level of satisfaction. Just don’t think about the subsequent attempts to cash in on its success…

Current Highlights:

“Revolution Calling”

“Operation: Mindcrime”

“Breaking The Silence”

“I Don’t Believe In Love”

“Eyes Of A Stranger”

Queensryche Month, Part 3: Review of Rage For Order

Rage For Order has a rather odd position in Queensryche’s discography. The facts that it was their second full-length album and had the classic lineup at their peak make it an instant classic, yet it is also the first album that showcases several traits that would come to bite the band in the ass on later efforts. The resulting release is strong yet one that has also earned its black sheep reputation.

If there’s one thing that you can say about Rage For Order, it’s that it is one of those albums that only could’ve been made in the 80s. The band had been forced into a mismatched hair metal image, the production had more polish, keyboards are prominent on several songs, a few effects are thrown about to add to the drama, and they even snuck in a few ballads for good measure. These factors and more result in an intensely calculating tone that fits in quite well with its lyrical themes of technological paranoia.

Going along with that, the musical style is much harder to pin point compared to most of their efforts as it deals with a wide variety of influences. There is still a decent amount of metal influence as the band dynamic is still pretty guitar driven and the vocal delivery hasn’t changed much, but the appropriately titled “Surgical Strike” is the only track that ever feels like it could’ve been on the EP or The Warning. The prog ends up taking over in its place though there are also vague influences from post punk and glam among other things.

But when it comes down to it, the songwriting skill is what ultimately sets this album apart from the band’s future genre roulettes and even predicts the radio friendliness that would dominate its immediate successors. Just as songs like the opening “Walk In The Shadows” and “The Whisper” stand out for their upbeat injections, others like “I Dream In Infrared” and “I Will Remember” keep their heads above conventional balladry with their dreamlike atmosphere and sweeping vocals. In addition, tracks like “Neue Regal” and “London” provide some solid theatrics and “Screaming In Digital” remains the most intense song that the band has ever put out.

And while it may not be the strongest track on here, I do have to give some serious props to the cover of Dalbello’s “Gonna Get Close To You” that pops up towards the middle of the album. While the more active tempo and even more dramatic vocals may diminish the Nightmare Fuel that dominates the original version, the band’s skillful execution allows their version to fit the album’s overall vision and the retained paranoid tone keeps it from being another genre swap novelty.

While The Warning remains the strongest release of what I like to call the pre-Mindcrime trilogy, Rage For Order is the most interesting of the lot and just might be their most intriguing release to date. Despite the constant genre jumps and even further experimentation, the songwriting holds everything together and results in a number of classics that should please any fan of the band. The other releases from the band’s peak are easier to recommend to a newcomer but you won’t regret giving this one a chance.

Current Highlights:

“Walk In The Shadows”

“Gonna Get Close To You”

“Surgical Strike”

“Neue Regal”

“I Will Remember”

Queensryche Month, Part 2: Review of The Warning

Queensryche’s debut EP got the band’s foot through the door and remains one of their most powerful efforts to date, but its ambitions seemed to suggest a youthful hunger rather than the grandeur that would come to define them later on. Fortunately, the band’s first full-length album was released just a year later and shows some dramatic evolution in the form of expanded sounds and an early attempt at a unifying concept.

While The Warning could still be classified as a heavy metal album overall, this is the first Queensryche album where progressive rock emerges as a truly prominent influence. The songs are longer, the structures are more complex, and tracks like “No Sanctuary” and the closing “Roads To Madness” drop the metal entirely in favor of Floyd-esque textures and building choruses. They even pair some operatic influences up with a Maiden style gallop on “En Force,” resulting the most glorious song that has ever appeared on a Queensryche album.

But even if the more metal tracks still have some odd quirks and tinges of prog in their deliveries, they still manage to quite memorable and occasionally as heavy as the EP. Aside from the previously mentioned “En Force,” “N.M. 156” and “Take Hold Of The Flame” serve as the album’s strongest highlights as the former combines tense vocals during the verses with a fast chorus while the latter serves as one of the band’s more theatrical singles. Also worth noting are “Before The Storm” for its strangely sequenced yet infectiously catchy vocal lines and “Child Of Fire,” which plays out like the successor to Judas Priest’s “Dissident Aggressor” before it goes off on another spacy tangent.

With all the various stylistic experimentations that dominate this album, its frequent risks pay off well and its biggest flaw has more to do with the flow of the overall work rather than its individual components. Much like how Sad Wings of Destiny had its sides switched around at some point, you can tell that The Warning’s track order is rather jumbled compared to its original vision as the title track gets things going in an awkward mid-tempo march where it was meant to start off in a frantic fashion courtesy of “N.M. 156.” Factor in the equally awkward sequencing on “Deliverance” and you have an album that screams to be moved around on your iTunes Playlist.

A few bumps in the road keep this from reaching the consistency of the EP, but there is no denying that Queensryche’s first full-length album offers a more thoroughly rewarding listening experience. Even the weakest songs on here are pretty far from being filler material and the sheer variety involved results in several powerful tracks that only get better with repeated listens. It’s still heavy enough to suggest as a good first purchase and fans of their most successful releases won’t be too out of their element here.

Current Highlights:

“En Force”

“No Sanctuary”

“N.M. 156”

“Take Hold Of The Flame”

“Before The Storm”

Queensryche Month, Part 1: Review of the Self-Titled EP

Originally recorded when the group was still known as The Mob, Queensryche’s debut EP serves as one of the band’s most conventional yet definitive statements. Its four songs have more to say than most bands’ full-lengths and simultaneously expresses their influences while hinting at the shadow that they would cast over the prog music scene.

Seeing as how the band was still largely riding on their Iron Maiden and Ronnie James Dio influences, it isn’t too surprising for this EP to be their most metal-oriented release to date. The songwriting is straightforward, the guitars operate at more aggressive tempos, the vocals are as charismatic as they are high pitched, and the production job also manages to be their grittiest.

Yet even in their earliest days, the band had several nuances that placed them above most traditional metal fare. You won’t see any epics on here but tracks like the immortal “Queen Of The Reich” offer a degree of structural complexity while “The Lady Wore Black” offers some bells and literal whistles that keep it from being your typical power ballad. The band’s sophisticated air was also firmly secured by their debut, putting them two steps ahead of their contemporaries in Fates Warning and Savatage.

But as anyone will tell you, Geoff Tate’s vocals are what truly set Queensryche apart from the rest of the pack. He offers a great deal of variety and control in his delivery as he offers consistent wails throughout “Queen of The Reich,” a nut ripping scream on “Blinded,” and masterful low to high transitions on “The Lady Wore Black.” Not too shabby for a guy that doesn’t even like metal and performed on this EP as a favor…

While it has been overshadows by the best (and the worst) of future installments, Queensryche’s debut EP shows the band starting off strong. Despite there being only four songs on display, there are a few classic tracks on board and heavier metal fans may find this to be an ideal starting point if they don’t already have the obligatory Mindcrime. Either way, it’s just more proof that 1983 was a damn good year…

Current Highlights:

“Queen Of The Reich”

“The Lady Wore Black”