QueensrĆæche
Fact: QueensrĆæche have never been a band to rest on their laurels. In a career set against the new-millenniumās backdrop of cultural chaos, theyāve remained a constant; musically innovative and lyrically thought-provoking. One of rockās most respected names who have weathered the storm and emerged in 2019 with The Verdict. Itās an album that echoes QueensrĆæcheās three decades of career high-points while pushing ahead with the confidence and urgency of a band just now coming into its own.
With a legacy behind them thatās shifted over 30 million records and built a dedicated legion of fans while touring the globe alongside giants including Metallica, Def Leppard and The Scorpions, QueensrĆæche have exceeded themselves once again. If QueensrĆæcheās 15th studio album sounds like a young, hungry band just hitting its stride, itās because that is precisely the case. Produced and mixed by Chris āZeussā Harris (Hatebreed, Rob Zombie), who helmed 2015ās Condition Human, itās also QueensrĆæcheās third album with frontman Todd La Torre, who joined the veteran band in 2012, taking the reins from erstwhile voice, Geoff Tate.
āThe Verdict is that statement for us ā in much the same way that [1984ās] The Warning was,ā says founding guitarist Michael Wilton. āThis oneās the creative convergence of this lineup. We got together and worked on every song as a band. The spontaneity, the creativity; it came out of all of us, working together as a band should.ā From the hypnotic riff and melody of āLight Yearsā to the moodiness of āDark Reverieā or the epic rock nā roll workout of āPropaganda Fashion,ā this is a record that stands up to QueensrĆæcheās gold and platinum watersheds including Rage for Order, Empire or Promised Land.
However, The Verdict is very much an album for 2019: both in bandās far-reaching musical grasp, but also from a lyrical point of view. As far back as 1988ās career and commercial breakthrough, Operation: Mindcrime, the Bellevue Wash., born band distinguished themselves for combining powerful and progressive rock with equally evocative lyrics. QueensrĆæcheās latest is no exception to that rule. āItās very usual for QueensrĆæche to write about geo-political, socio-political, socio-economic, governmental-type things,ā says La Torre. āIdeas that push peopleās buttons, but in not such a literal way. Thereās definitely an abstract aspect to the lyrics that make it open to interpretation.ā
QueensrĆæche and its now-seasoned frontman arenāt afraid to be direct in their lyrical ire. āThe first track on the record is called āBlood of the Levant,āā La Torre explains. āThat really is about the Syrian war and how it started with these two kids spray-painting: āYouāre next, Doctor!ā referring to Assad because he was an ophthalmologist before he took power. That song has to do with the people becoming rebels against their own Syrian government and the oneās that support it, i.e. Iran, Russia, Hezbollah and ISIS which took advantage of the war to invade Syria. Then you have the song āBent,ā that isnāt political but has undertones in lines like: āThe poisoning of tribes,ā which is basically referring to how we devastated the Native
Americans. Also, āto the lifeline of Flint,ā which is basically about the bad water in Michigan. Or, ānow the black snake it crawls deep within sacred grounds, we will never consent,ā talks about the oil pipelines going through Native American land.ā
The bond that runs through the current lineup of QueensrĆæche (rounded out by bassist Eddie Jackson and guitarist Parker Lundgren) was tightened and tested during the making of The Verdict. When personal commitments forced drummer Scott Rockenfeld to sit out the recording sessions that spanned between Seattleās Uberbeatz, Michael Wiltonās Washington
State home studio and Zeussā Planet-Z Studios in Hadley, Mass., La Torre ably
handled the drumming chores with the sort of reverence for QueensrĆæcheās subtleties and nuances he demonstrates behind the mic. āIāve been drumming for 30 years,ā says La Torre, who was recruited from Floridian metal band, Crimson Glory. āI certainly know the nuance and style of QueensrĆæcheās drum parts first hand so it certainly made me a logical choice to
record the drums.ā
The band credits Zeussā return to the producerās seat as a key part of The Verdict being a record that will take its place among their classics. āZeuss understands us in way that probably no producer weāve ever worked with has,ā says Jackson. āHe understands our history, our sounds, whatās in our DNA. Heās willing to push us and vice-versa. We were lucky
to work with him again.ā
When asked where The Verdict sits in QueensrĆæcheās discography, thereās no mistaking the fact that the bandās legacy and connection with their fans is key to their continued success.
āWith the first self-titled album (2013ās QueensrĆæche), Todd and I were the new guys and we wanted to āstick to the legacy of QueensrĆæcheā and stick to the legacy of the first five classic records,ā says Parker, who initially joined the band in 2009. āThen when Condition Human
came out, we were able to branch out a little bit, pushing the limits stylistically. This album is really the next step for us.ā
āHaving Todd and Parker in the lineup does create some new chemistry and new ideas when it comes to the songwriting,ā Jackson affirms. āHaving new blood in the band certainly gave us some new life for these past three albums. This is something we all have a passion for and having the freedom to write, record and tour without any limits is nothing short of refreshing.ā
QueensrĆæcheās impact on other bands and musicians is undeniable. While they dominated rock radio in the '90s with a string of hits including āJet City Womanā and āSilent Lucidity,ā their influence on rock and progressive bands including the likes Dream Theater or the late, lamented Nevermore has been undeniable. āWe grew up during the days when being experimental was a key element,ā says Wilton. āWhere you could write an album that was
completely different than the previous album, put those songs in your set-list and that would completely work! Thatās what allowed us to play with Bon Jovi, AC/DC and Iron Maiden! Itās about the musicianship, the songwriting, that desire to carry the torch when songs were put together by musicians not machines.ā
The Verdict is in and its testament to not merely QueensrĆæcheās staying power as a force in rock in a turbulent new world, but a band without boundaries who continue to prove how
timeless they truly are.
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