No classic metal band celebrated a greater resurgence in the past decade than Queensrÿche. Singer Todd La Torre has breathed new life into the veteran outfit, assisting heavily in songwriting and arrangements, and helping them pick up where Promised Land left off. The result is 3 rock solid prog metal albums that all but washes away the sour memories of their lethargic late 90s and 2000s output (One could call it “regressive metal”.) I can go on and on about these La Torre era efforts, how they compare to the band’s landmark 80s output, and where they stand in the scope of 21st century metal as a whole. I can also dwell about the band’s last album, The Verdict (2019), being my least favorite of these efforts, albeit growing on me over time. However, this review isn’t about The Verdict, or Condition Hüman (2015), or their self titled LP (2013) for that matter (Not to be confused with the 1983 self titled EP.)
No, today we’re tackling the band’s latest studio offering, Digital Noise Alliance, which is a very Queensrÿche-esque title, if I’ve ever heard one. On this album, the band is rejoined by mid 2000s guitarist Mike Stone, who while no Chris DeGarmo, arguably works better alongside Michael Wilton than previous guitarist Parker Lundgren. This isn’t a knock at Lundgren by the way. I appreciated his flair for modern prog metal guitar and incorporating such into Queensrÿche’s sound without dicking it around. Stone just sounds closer to DeGarmo in feel and delivery. Also on DNA (I see what they did there.) is stand-in turned permanent drummer, Casey Grillo, who despite playing with the band since 2017, is just now making his recording debut.
Whereas The Verdict occasionally strayed too far towards the modern side of the spectrum, Digital Noise Alliance stays true to the classic Queensrÿche sound, albeit highlighting various eras. Some songs combine the band’s prog metal ethos with arena rock hooks and a healthy dose of melody, recalling Empire‘s headier moments (i.e. “In Extremis”, “Chapters”, “Out of the Black”). Others double down on mood and atmosphere, daring the listener to immerse his or herself in the band’s vast sonic palette (i.e. “Lost in Sorrow”, “Nocturnal Light”, “Hold On”). And then there’s cuts like “Sicdeth” and “Tormentum”, in which the aggression and fury of the band’s earliest power metal days take hold (pun fully intended).
Yet of all the highlights on this album (and all but 2 songs fall into that category), none speak (another intentional pun) more to me than the epic “Behind the Walls”. Up until now, my favorite song of the La Torre era was “Man the Machine” off The Verdict. I say “up until now” because I’ll be shocked if Queensrÿche ever writes another song of this caliber again. Call it blasphemy, but as far as I’m concerned, this is a “Roads to Madness”/”Neue Regel”/”Eyes of a Stranger” caliber composition, boasting menacing guitar work, ominous synths, and choir choruses. When put together, it’s nothing short of enthralling.
With the exception of a “Silent Lucidity” rewrite (“Forest”) and a puzzling cover of Billy Idol’s “Rebel Yell” (It’s not bad…but why?), Digital Noise Alliance checks damn near all the boxes required for a killer Queensrÿche album. Future listens will determine whether or not it’s the finest of the La Torre era thus far, but I’m sure by the time I come to decision in that department, they’ll be back with yet another thought provoking, forward thinking prog metal opus. Keep “Screaming in Digital” you magnificent masters of American metal.
8 out of 10
Label: Century Media Records
Genre: Progressive Metal
For fans of: Fates Warning, Iron Maiden, Sumerlands