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June 25, 2013 | Format: MP3

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Product Details

  • Original Release Date: June 25, 2013
  • Release Date: June 25, 2013
  • Label: Century Media
  • Copyright: (C) 2013 Melodisc Ltd., under exclusive license to Century Media Records Ltd.
  • Total Length: 35:03
  • Genres:
  • ASIN: B00CXL6XP0
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (420 customer reviews)
  • Amazon Best Sellers Rank: #26,414 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

177 of 193 people found the following review helpful By Jerry Deschler Jr. on June 25, 2013
Format: MP3 Music
Michael Wilton, Scott Rockenfield, and Eddie Jackson have gone on record several times and said they have a ton of unused material they have written over the years that has yet to see the light of day. A quick listen to Scott and Whip's "mosh pit demos" proves that they aren't bluffing. And yet, rather than use some of that already-written material, when Michael, Scott, and Eddie entered the studio to write Queensryche's latest self-titled album with returning guitarist Parker Lundgren and new vocalist Todd LaTorre, they instead chose to use only new material the five musicians wrote together specifically for the new album sessions. This decision definitely makes a statement, but it is also incredibly risky.

The risk paid off.

Everything about the classic Queensryche sound that fans have come to know and love over the years--things that have been conspicuously absent for several albums--are back. But instead of sounding like tired retreads, the songs have a freshness and originality to them that is very satisfying. In short, the songs sound huge and complex. Even the songs with very straightforward, standard arrangements have a depth and complexity to them that rings of Queensryche of old. The complex, multi-layered guitars are back. The relentless, driving rhythm section is back. The little sonic nuances that add texture and atmosphere are back. The vocal harmonies that give added dimension and emotion to the vocals are back. The thoughtful and thought-provoking lyrics that make the listener think without telling him or her what to think are (finally!) back. All the things a lot of long-time fans missed that made Queensryche a truly unique band are back.

But, as I mentioned above, Queensryche is much, MUCH more than simply a nostalgia trip.
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114 of 130 people found the following review helpful By Brian Nallick TOP 500 REVIEWERVINE VOICE on June 25, 2013
Format: Audio CD Verified Purchase
I first got into Queensryche with "Empire". I loved "Empire" and I thought the band hit its pinnacle with "Promised Land". They had commercial elements but at the same time stood apart in the songwriting department. Enough prog and enough chunk was left to impress me greatly. I got into the earlier albums later but "Empire" and "Promised" will always be my favorites. Then the decline started and it was not pretty from what I've read. I bought "Hear in the now Frontier" the day it came out...and I've never bought another Queensryche album since. I heard bits and pieces from following albums but nothing that resembled the QR that I liked so I just never bothered. Then like just about everyone else I heard about the band imploding but honestly didn't care all that much since the band had been off my radar for over a decade. I found the stories of financial abuse as well as physical abuse to be fascinating but I really wasn't all that interested in new music. Then I heard "Redemption" and was an old fan brought back all over again. Could the QR of old really come back after one bad album after another? Could this new guy really replace "The Voice" Geoff Tate? The answer surprised me as I'm sure it will surprise many of you....yes. A very simple yes. The band hasn't sounded this good since "Promised Land". Let's dive in shall we?

The album opens with "X2" an instrumental, ambient piece. Brilliant, exciting...a great way to kick start the new QR.

"Where Dreams Go To Die" is the first proper track and it's a Hell raiser. Military style drums open to the dual guitar harmonies that we grew to love and grew to miss over the last decade. Instead of strutting out Todd and his piercing high notes, we're treated to a somewhat restrained but brilliant performance.
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136 of 156 people found the following review helpful By Samsara on June 25, 2013
Format: Audio CD
From Black Sabbath to Van Halen to Alice in Chains, the number of bands that have successfully replaced an iconic singer is a who's who list of rock's elite. Queensr˙che hope to join that distinguished group with new vocalist Todd La Torre and if their latest self-titled release is any indication, they are well on their way.

Making his recording debut for Queensr˙che in place of former singer Geoff Tate, La Torre captures the operatic vocal style and emotion that made the Seattle quintet one of the most distinct metal acts of the 1980s and 1990s. La Torre delivers a dynamic vocal performance not heard on a Queensr˙che album since 1994's Promised Land.

The 11 tracks on Queensr˙che's self-titled record revisit the guitar-driven sound of 1988's Operation: Mindcrime and 1990's Empire, but also keep one foot firmly grounded in modern hard rock and heavy metal style. The result is a record that makes Queensr˙che sound relevant and vibrant for arguably the first time in decades.

Back are the harmonized, aggressive guitar solos, huge choruses and memorable vocal melodies. Scott Rockenfield hits the drums like he's 20 years old again, notably in "Spore," a tune that harkens back to the Rage for Order era of the band with its progressive time changes. Not to be outdone, Michael Wilton comes out swinging with a slate of headbanging guitar riffs, particularly in "Redemption" and "Vindication."

"Don't Look Back" features soaring power metal wails by La Torre, while "Open Road" and "A World Without" showcase the singer's gut wrenching and cathartic delivery. Now also Queensr˙che's primary lyricist, La Torre draws inspiration from personal experiences and observations of the band's ugly split with Tate.
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