Register Forgot login?

© 2002-2024
Encyclopaedia Metallum

Privacy Policy

Queensrÿche > Tribe > Reviews
Queensrÿche - Tribe

A retrospective on a dead cultural phenomenon. - 30%

hells_unicorn, January 29th, 2020
Written based on this version: 2003, CD, Sanctuary Records

Historical revisionism has had its share of controversy, but as a basic practice, it is a widely utilized method of augmenting our understanding of past events. Especially in light of present trends, it can prove to be an invaluable tool in discovering why a band might opt to routinely feature material from a particular era, or even elect to pretend like another segment of their past never happened. In the peculiar case of Queensryche, controversy is almost unavoidable in this regard, given the circumstances surrounding the split of the band with their longtime front man and the subsequent war of words that developed between both camps. Nevertheless, there is a massive elephant still lingering in the room for anyone that has followed this band's long and influential career, namely the time period spanning the bulk of the 1990s up until the exodus of Geoff Tate. Nailing down precisely what this pioneering progressive metal outfit was up to musically speaking tends to raise a lot more questions than it does answers, but it can be best understood by considering both their place of origin and how it shaped the musical landscape of the time.

Though often treated as a lone exception in a span of lackluster output, 2003's Tribe is probably the most stylistically indicative of the rut that would rob Queensryche of about 20 years of their career following the close of the 1980s. It tends to be remembered fondly due to it featuring the brief return of guitarist and co-founder Chris DeGarmo, who's hiatus saw multiple collaborations with various members of fellow Seattle natives Alice In Chains further brings home the point that this album sees little stylistic change from what typified the last two albums, though his involvement does result in a slightly better experience than the drab Q2K. But the brief reconciliation of the original fold not withstanding, this album showcases zero in the way of metallic luster and simply opts to retread the same alt. rock/grunge-infused sound that reared its head on Hear In The Now Frontier, and the results are a sad attempt at rehashing something that was dead and buried when said 1997 stylistic left-turn was released, totally bereft of the ongoing and exciting musical innovations going on east of the Atlantic Ocean.

On paper, the influences that went into this album should have yielded more sonically interesting results, as the Badmotorfinger tendencies of Queensryche's first foray into grunge territory six years prior gave it a raw charm of sorts, but between DeGarmo's attempts to mix some latent Alice In Chains elements into the pot and a generally banal execution, most of it gets lost in translation. The results are actually analogous to the bland, stagnant final hurrah of Soundgarden that was Down On The Upside, showcasing a few semi-interesting riffs but mostly coasting and meandering through a sea of indistinct ideas set to a punishingly mid-paced, trance-inducing flow. In essence, this album is one plodding, 40 minutes plus rock song with ten track breaks but no real points of cadence to speak of and maybe a handful of dark moments that approach being credible. At the center of it all is an inoffensive, competent yet largely uninteresting vocal performance out of Tate, who still possesses much of his strength as a singer, but comes off as if he's flailing about in search of a coherent hook.

The collective indistinctness that haunts these songs tends to mirror the misguided stylistic eclecticism that dogged Soundgarden's highly influential mid-90s albums, though the more outlandish ideas that turned Superunknown into a disjointed mess are spread out and more diluted here, resulting in something that's a bit more of a flavorless paste rather than a jagged mess of decent and terrible. Things start on a somewhat pleasant note with a moderately punchy, quasi-mystical stomp in "Open", but the fairly strong opening riff lingers way too long, Tate's largely crooning performance clashes with the heavier backdrop, and the buildup to the chorus rings quite anti-climactic. This generally repetitive and semi-animated formula tends to define the rest of the album, with each song either making occasional asides into lighter territory or using the same approach to diminishing effect. Whether it be the quirky tribal sounds of "Losing Myself" (which sounds like a bad grunge reinterpretation of Rush's "Mystic Rhythms"), the somewhat more raucous punch of "Desert Dance", or the dreary attempt at channeling the few moments of glorious balladry of Empire in "Rhythm Of Hope", nothing manages to really strike much of a chord.

Words like "underrated" and "forgotten classic" are often thrown around in relation to this song, but barring a smattering of sycophant Geoff Tate loyalists and aging grunge rock trustees, this is an album that tends to be either ignored or dismissed for very good reason. It underscores a group of musicians clinging to a sound that was not their own, likely in a sense of local solidarity with the Seattle scene, which had been eclipsed by the nu-metal fad and saw most of its original purveyors either dissolved or in a state of limbo. It possesses none of the attributes that made the band's seminal offerings great, nor does it even carry the catchy elements that made middle era outliers like Hear In The Now Frontier and Operation: Mindcrime 2 moderately engaging. It's just a boring collage of 90s influences with little unifying structure to speak of, apart from maybe a recurring tribal dance music and percussion gimmick that was done better by Crimson Glory on their often panned 1991 sellout Strange And Beautiful. It should be a mystery to no one as to why none of these songs, let alone some of the other crud that came out just before or after this, are to be found on Queensryche's recent set lists, save maybe for Tate himself if most of his subsequent solo output is any indication.

Underrated Queensrÿche record that deserved a bigger release - 85%

jayce2279, January 5th, 2020
Written based on this version: 2003, CD, Sanctuary Records

Like I suspect it is for all Queensrÿche fans, my favorite albums of this once incomparable progressive metal band, that Bruce Dickinson at one time was jealous of, are the recordings they released between 1983’s EP and 1994’s “Promised Land”. I stopped listening to them when they made “Hear in the Now Frontier” and when I briefly checked out “Operation: Mindcrime II”, I was sure my decision had been the right one. However, the buzz created by the positive reactions to their albums with new singer Todd La Torre as well as Geoff Tate's Sweet Oblivion project encouraged me to explore the lesser known and not so cherished works of my once beloved band. I wasn’t expecting to hear much that’s worth mentioning to anyone, let alone write a review of to recommend it to other fans, but “Tribe” inspired me to do just that. It was a welcome return to form after a couple of lackluster albums and it’s a shame this record wasn’t released by a bigger label that would have promoted it better, because I feel it could have done for Queensrÿche what “Brave New World” did for Iron Maiden.

The record’s track list is a good mix of songs displaying the different styles Queensrÿche used successfully in their past but also includes some contemporary ones. “The Great Divide” and “Rhythm of Hope” feel like 21st century versions of the melodic songs on “Empire”. “Desert Dance”, “Blood” and “The Art of Life” are more progressive and, to me at least, seem like an evolution of the kind of music they made in the 80s. “Falling Behind” and “Doin’ Fine” are similar to the modest tracks on “Promised Land” and “Open” and “Tribe” are Nu metal songs, which was a popular genre at the time, showing a younger generation Queensrÿche were still relevant. True to form for the “Thinking Man’s Metal Band”, most have deep, meaningful lyrics and the general theme of the album is the aftermath of the 9/11 terrorist attacks, that took place about a year and a half before. The one track I feel is a little bit out of place on “Tribe” is “Losing Myself”, which is kind of an upbeat love song, that has a very different feel from the darker, more serious tone of the others. Perhaps coincidentally, this is also the only contribution from an outside writer, or at least a non-fulltime member of the band. A practice which, sadly, would become much too common on subsequent releases.

In my opinion, this was the last really good Queensrÿche album and nothing they released afterwards even came close until they made their self-titled one a decade later. That obviously doesn’t have contributions by Chris DeGarmo or Geoff Tate on it so, since it’s the last record the original band worked on together, “Tribe” represents the end of an era for them. Of course the hard rock and metal worlds have seen a few unlikely reunions these past few years, but if we really are never to get another joint release by the original Queensrÿche members, I’m glad Chris DeGarmo’s partial return means it’s “Tribe” and not the more grungy “Hear in the Now Frontier”. One can only wonder what would have happened to what arguably was the best and most influential progressive metal band in the world if the record had been properly supported and promoted by a bigger label.

On a side note, what I usually do when their classic albums aren’t enough to quench my thirst for Queensrÿche songs, is go straight from “Promised Land” to “Tribe” and then skip everything till I get to their self-titled album. Which isn’t to say that “Operation: Mindcrime II” doesn’t have its moments or “American Soldier” isn’t a fairly decent album to listen to, nor, with the exception of its second track, is “Frequency Unknown”, for that matter. Even the more poppy “Dedicated to Chaos” has a few beautiful melodies on it. But the lack of significant contributions from Eddie Jackson, Scott Rockenfield and Michael Wilton are very noticeable on those releases and keep them from reaching the same level as “Tribe”, so it’s really a shame more people don’t have that record in their possession. By the way, what I found is a nice way to conclude the abovementioned listening experience is, after ”The Verdict” has ended, to put on Sweet Oblivion’s self-titled release. I feel like that really should have been the reunion album Geoff Tate should have recorded with his old band (if you haven’t heard it yet, I highly recommend you check it out). That way I can finish the journey while listening to Queensrÿche’s original voice again and enjoy the illusion that my favorite band has gotten back together after all.

Just as mediocre as its predecessors, only staler - 53%

The_Ghoul, June 23rd, 2014
Written based on this version: 2003, CD, Sanctuary Records

Grunge didn't kill metal. I'm tired of hearing people say that and I'm tired of people sticking to that narrative. Metal's not dead, and is stronger than ever right now, thanks to the new medium of internet promotion. What grunge killed was glam metal, but let's face it, glam metal was already dead due to the endless Poison and Motley Crue clones gumming up the scene by the time Nirvana came around. Besides, Alice in Chains was a pretty large "grunge" band that sounded more metal than 90% of the LA glam scene.

What does this rant have to do with Queensryche's Tribe? Everything. Queensryche seem to be suffering the delusion that grunge killed metal, and that since they were playing metal before, they must now play grunge to stay "with the times". This line of thinking resulted in two albums before Tribe, which were neither all that great nor terrible either. Tribe is a "more of the same" affair, with slowed down tempos, simplified riffs (if there even are riffs. Most of the guitar work is power chords at best) and a generic "rock" feel. For some reason, many fans seem to give Tribe a pass while scorning its two immediate predecessors. I don't know why this is, because Tribe doesn't sound too different to my ears than Q2K or Hear in the Now Frontier did, much less deserving of the praise it gets. Chris DeGarmo's renewed involvement is often cited, but even this is nominal at best; I can hear what his contributions are, but they aren't all that plenty, and if you wanna hear Queensryche play grunge with more involvement from DeGarmo, listen to Hear in the Now Frontier. Tribe is just... bleh. It's so bloody average and mediocre.

In fact, I'd probably paint the trajectory of Queensryche in the 90's and onward as a steady slide downward after a peak in Promised Land, with Tribe being a more boring and gimmicky version of Q2K, and Q2K likewise being a simplified and poppier version of Hear in the Now Frontier. Speaking of simplification, I know Queensryche have always been a band about the chorus, but many of these songs feel like nothing BUT chorii. The verse sections for songs like The Art of Life, Tribe, or Desert Dance are terrible imitations of bands like Tool at the very best, and uninspired riding of the low string at the worst. The bridge sections, already steadily shortened since Promised Land, are almost nonexistent now, with an otherwise good song "The Rhythm of Hope" trivialized by the absence of an appreciable bridge section, and after a couple listens, the album turned into an endless repetition of verses and chorii all done in this super formulaic fashion that brings serious question to Queensryche's classification as PROGRESSIVE rock/metal.

Don't be fooled by the "tribal" instrumentation or theme (what tribe are they anyway? They're a bunch of city slicker gringos, I dunno what all this "tribe" nonsense is), because much like how underneath Sepultura's tribal gimmick on Roots was braindead quasi-groove metal that was stale 2 years prior, underneath the "tribal" facade of Tribe is really boring rock that was already cliche' by the time "Willenium" was no longer a thing. I mean, shit, this is at the level of what U2 was doing at the time, and if I brought back memories of yuppie hipsters from the late 90's/early 00's, I'm sorry. The song "Losing Myself" is probably most guilty of this, but every song on here is stale. There's no aggression, there's no excitement, and I know the lyrics are about peace, but that's no excuse for making boring, formulaic rock with a serious lack of riffs and balls. My hair is practically receding from listening to this, that's how bad this screams "mid life crisis". This, however, underlines a serious flaw with Tribe:

It's too 90's. So much for progressive music being about looking ahead and being innovative, because this album is stuck in a decade that hasn't been kind to Queensryche's career, much like a victim of battery repeatedly returning to an abusive alcoholic spouse. "Behind the times" doesn't even cut it. It would be like playing disco in the 80's in an attempt to stay "with the times". If anything, grunge was dead by the time this came out, and boy does it show. Whereas Hear in the Now Frontier had some surprises up its sleeve with its lush, lazy chords, and Q2K had the song "Right Side of My Mind" at the very least, this album has no real strengths. No songs to put chills on my spine, no sense of discord, and much in the sense that books and stories with no discord or conflict are boring, so too songs with no discord or conflict are boring. Everything is too happy, too cheesy, and comes across as a bunch of middle aged men who were trying to emulate whoever was on the cover of Rolling Stone.

Another thing, too, are the lyrics. Queensryche always had an air of elitist sophistication about them, but I have not heard such a preachy set of lyrics in a long while, and it comes off the same way the spoken word genre does for me. See, I don't like spoken word because more often than not it is someone lecturing the audience with a rhythm in their voice. I don't need to be lectured. Perhaps it was because I was forced to go (it was in high school) but still, the self-righteous nature of the verses they were speaking rubbed me the wrong way, and so too do the lyrics of Tribe. It's particularly bad (and hilariously dated-sounding) in the song "The Great Divide", but Geoff Tate manages to sound a tad like that in all the songs, whether he's telling us to "open [y]our eyes" in the song "Open" or that "we're all the same tribe" in the song "Tribe" or (literally) telling us how to live our lives in "The Art of Life". Also, maybe it's the cigarettes that are starting to affect his voice, but the wheeze at the end of all his long notes makes him sound even less endearing. I dunno, but it's around this time in Queensryche's discography that I started to get annoyed by Geoff's voice. I dunno what it is, but it just sounds annoying now, and this is where it started. Annoying and arrogant.

Unfortunately this is not the worst Queensryche would have to offer. The following albums would bring a new meaning to the phrase "auditory excrement" and stupefy many (increasingly former) fans with their lack of creativity. But for me, those get a pass because it seems that they weren't even written by the long-time members of Queensryche at all, so in my mind they're not really Queensryche. But Tribe is, and it shows that Wilton and co. were just as uninspired as the rest of the crew around this time. It seems the ejection of Tate from the fold has lit a new fire under the collective asses of Wilton, Jackson, and Rockenfield, as well as the other guitarist who isn't DeGarmo, and new vocalist Todd LaTorre. The eponymous album released with that lineup wasn't half bad, and in a way it's somewhat of a happy ending to this story. But that's a discussion for another album. Bottom line, Tribe isn't that happy ending. Tribe is just another unnecessary detour Queensryche took before they realized what they wanted to do with their career.

[EDIT: Just changed the score. Every time I listen to it it seems staler and more boring. Like how did they think this album was a good idea?]

A Cocktail That's Stirred, Never Shaken - 70%

Twisted_Psychology, June 20th, 2013

Tribe could be seen as a sort of crossroads in Queensryche’s career. It certainly doesn’t reach for their metal days, but it does have a unified lyrical theme and was their last true band effort before their next three releases were handed off to Geoff Tate’s entourage of outside writers. It even sees the brief return of Chris DeGarmo as a session member, overshadowing guitarist Mike Stone’s official addition to the group’s ranks in place of Kelly Gray.

Being the last part of what I’m now calling Queensryche’s Grunge Trilogy, Tribe seems to serve as an odd cross between Promised Land and Q2K. Just as it stays close to the latter’s rhythmic emphasis and muddy guitar tone, it also has a contemplative theme and might be their most laid back release to date. Of course, there are a few songs like “Open” and the disjointed “Art Of Life” that are slightly heavier than those on the last couple efforts, but they don’t feel out of place with the album’s reflective outlook.

But even with DeGarmo’s contributions, there still aren’t many changes to the band dynamic. “Open” does have the distinct honor of having the first honest to God Queensryche riff since “Hit The Black” but there aren’t too many intricate moments on the ballads that made past somber tracks like “Out Of Mind” and “The Lady Wore Black” so captivating. This is also where the vocals would start to get a little grating though it seems to have more to do with the patterns and inflection than trying to hit notes that just can’t be hit anymore.

And in a way similar to St. Anger, there are some moments where things feel a little unfinished. But while that album spent too much time beating stale ideas into the ground, Tribe has songs that seem like they should’ve gone in a different direction than what was released. “Desert Dance” could’ve been a highlight if it had spent more time on its darker beginning and the title track would’ve been even stronger if the flow of the vocals wasn’t so awkward during the verses. The ballads also have a tendency to run together though a few of them do show signs of promise.

Overall, Tribe is a decent album though it somehow seems to be even weaker than the last couple despite DeGarmo’s contributions. The reflective tone is nicely delivered and fitting for a band of Queensryche’s experience and “Open” is easily their strongest latter day diamond, but his involvement is more of a point of hype and what could’ve been than anything that truly salvages the album’s more monotonous moments. Stick with Hear In The Now Frontier if you want to hear the band play grunge. That album needs more love anyway…

Current Highlights:
“Open”
“Great Divide”
“Rhythm Of Hope”
“Tribe”
“Blood”

Originally published at http://psychicshorts.blogspot.com

Because everything's at stake - 60%

autothrall, August 13th, 2012

Tribe is the sole 21st century Queensrÿche studio effort to date which does not immediately induce nausea and disappointment, a testament to the album's cohesive vision and the obvious confidence manifest through Chris DeGarmo's rekindled involvement in the group, as short term as it would prove. At once, the music has a more positive and inspirational quality about it which doesn't feel like its dragging its knuckles behind the success of the Empire album. There are no cheap ploys to reenact a "Silent Lucidity", and the 'tribal', far Eastern incorporation of melody and percussion coursing through the rhythm section presents a worldly and distinct Queensrÿche which seems far more loyal to the band's ideals of progression and expansion than the sagging ennui of records like Hear in the Now Frontier or the laughable Q2K. Had Tribe been the album that followed up Promised Land in around 1996-1998, perhaps it would have cushioned the group's fall unto irrelevance...

That's not to say that I think this is necessarily a 'good' album, and Queensrÿche was still quite distant from a point at which it could muster the chops and chorus strength of its 80s fare, but Tribe is at least soothing and complacent to its average songwriting, and the ideas here aren't unworkable. The lyrics are largely the product of life-affirming, globe-spanning introspection that many of the band's more humble fans might not be able to relate much to; either that, or a shared midlife crisis which they could. Beyond that, though, they are not poorly composed, and there is enough imagery cast about in the verses to exhibit some effort in their composition. Cliches are often paired up with more unique prose, as in the very first verse on the album: 'You're an angel with your wings broken, wearing sandals that I tripped in/You're a holiday already taken, a cocktail that's stirred never shaken.' Also, as one finds so often in radio oriented highest bidder pop music, the chorus lyrics are pretty bland, since the band figures you'll be more attentive to the actual melody of Tate's voice than what is being said. Not that Queensrÿche was ever the haven of expert wordsmiths, but where "Eyes of a Stranger" gave me chills, this record couldn't even summon a goosebump.

Musically, Tribe exists at this crossroads of airy progressive rock circa Promised Land or Hear in the Now Frontier, infused with a more eclectic array of Rockenfield's percussion, and an almost groove metal subtext during its 'heaviest' moments, which are not exactly very heavy. You can certainly make out Chris DeGarmo's presence, since several of the note progressions hearken back to that haunting breadth of the 80s, and he loves to just let some atmospheric series of chords ring out against the drums and bass, but the harder, slight grooves that fuel tunes like "Open", "Tribe" or "Desert Dance" would not be entirely out of place on a Tool record, so much of the aggression here, where it exists, is borne more out of the 90s than the band's own 80s efforts like The Warning or the eponymous EP. This isn't necessarily an unwelcome strategy for the Washingtonians, who are attempting to keep themselves fresh and not entirely lose that metal undercurrent which won them their career; but at the same time, it renders Tribe immune from any tangible sense of intensity. They never sound pissed, or petulant, and this limits the emotional range of the album.

Other issues I took with Tribe were the lack of spectacular chorus vocal melodies, and the presence of some lamentably generic, escalating chord patterns that any listener will have heard a few hundred times before (at least). For instance, "Losing Myself" throws away a curious, uncanny verse segment for a totally pathetic "Higher Ground" style chorus which is lazy and ineffectual. "The Art of Life" builds a busy enough momentum and then...never really goes anywhere. Acoustic ramblers "Rhythm of Hope" and "Falling Behind" have a great tone, but once the band electrifies for the chorus, they just don't deliver the expected money shots. It's a shame, really, because Geoff Tate is technically in fine form through the album, keeping busy through "Desert Dance" or "Tribe" itself across numerous harmonies and interchanges, but once they hit those presumably climactic points of the songs, they feel stubbornly unsticky, occasionally tragic and lame (like the jumpy white man's hip hop bit that closes out the chorus of "Desert Dance"). The only tunes here which stood out to me were "The Great Divide", for the strong flow of the moody, oft bluesy guitars, and the closer "Doin' Fine", which sounds like something Rush might have written for a 90s record, with a few decent chord choices in the chorus that bring it all together.

I also dug Scott's drumming in "Losing Myself", "Tribe" and elsewhere. Again, it's pretty reminiscent of Danny Carey from Tool, but the fills and steadiness match well with the aesthetics Queensrÿche wanted here; if only the riffs and vocal melodies would had chosen to more fully capitalize on his foundation. One area in which I could find no fault was the production, as clear as day. The guitars were dense and chuggy enough where they needed some weight, and graceful enough elsewhere, especially on the slightly distorted tinge in "Blood" or "Desert Dance", and the bluesy, wistful leads work well in flushing out the atmosphere. Jackson's bass is ample and flood-written, but otherwise he's not much of a presence throughout most of the record, with the exception of a few choruses (like "Desert Dance") where he veers away from the guitar. On the whole, Tribe was not a complete embarrassment. It was certainly the strongest record they'd released in almost a decade, and it's superior to what they've put out since, but it's not without its own flaws that place it well below the threshold of quality the band had established in their early win streak with DeGarmo.

-autothrall
http://www.fromthedustreturned.com

The Answer to the Mystery - 95%

The_CrY, November 15th, 2009

I’ve heard lots of people say the following about Queensrÿche: “what the hell are they doing?” This question is probably a consequence of the mediocre Q2k release and the different style they seem to be pursuing. Well, fortunately their 2003 release Tribe will give us the answer to the mystery. Where Q2k, I’ll quote Geoff Tate himself, “was an album by a band trying to redefine who they were”, Tribe is an album with a band that is done redefining and is ready to play some kickass laidback rock music, with subtle progressive influences. Sure, it is no longer the progmetal that we all heard from these guys in earlier years, but time goes on, and bands renew themselves, which is very good. Bands must always challenge themselves and seek to renew themselves, and yet stay the same. Fans on the other hand, especially metal fans (I speak out of experience here), often have trouble with a band that tries out something different and new.

Now, enough talk about bands renewing themselves... how did it work out for Queensrÿche? What is Tribe? Well, Tribe is a very impressive and relaxing effort. Though I hear people often complaining that this is not metal, there are very relaxing heavy guitar riffs throughout the album. I might say relaxed here, but energy ís flowing throughout various songs in the album. The heavy “Open” for example is a relaxing song, yet it fills you with energy unknown. What I really like about the album is the exotic feel to it. The exotic use of the tom-tom drums in “Losing Myself” and “Tribe” and the eastern feel to “Desert Dance” are so refreshing, they really add things to the album. Furthermore, I’d like to praise “Rhythm of Hope” for being the best ballad on the album.

Does this album have downsides? The way I write it all, it might seem that this album is paradise. Well, there is a reason that I gave this album only 95%, and not the full hundred. The last two songs are not weak, but they tend to be less strong than the others. “The Art of Life” is a mid-tempo rocker with spoken verses, that don’t really get to me, though the chorus is very satisfying. “Doin’ Fine” is a very relaxing album closer, though I can’t really figure out why they choose that song to close the album. It just has a feel to it that doesn’t do it for me. It is perhaps the song that reminds the most of Tribe’s predecessor Q2k. But in the end, the downsides of the album totally disappear compared to the overall Tribe album.

Here’s to naysayers of this album. Accept that Queensrÿche is no longer making the progmetal they made in the eighties. Accept that they try to renew themselves and that they wish to challenge themselves. If you plan to buy Tribe, then plan to “open your mind”, as the title track already suggests. Give this a chance, even though it is not your beloved metal. This album is a jewel, if only you want it to. It will be your new favorite album, if you’d give it a chance to.

To make this long story short, Tribe is amazing. From beginning to end, stunning. From head to toe, complete variation. I give this absolute recommendation if you are prepared to open your mind. This album belongs to my Queensrÿche favorites. And believe me, I set the bar high.

Strongest tracks: Losing Myself, Desert Dance, The Great Divide, Rhythm of Hope, and Tribe.

http://thecryreviews.blogspot.com/

Improvement - 80%

FabioDiamond, May 23rd, 2008

Queensryche is, without a shadow of doubt, the most controversial band to walk on the face of progressive music. Some claim they are the fathers of the whole progressive metal genre, others say they were nothing but another heavy metal band with a high-pitched singer. The fact is that Queensryche released metal classics in their early days, and are respected and recognized for that. But ever since "Hear In The Now Frontier", the band has been in a downward spiral that seemed endless. I gladly say, my friends, the abyss is over.

Tribe is not a masterpiece like Operation:Mindcrime or Empire were, but that was not something expected. Chris DeGarmo is back (at least for a little while) and proves once again that his presence is particularly important for the 'ryche guys. His guitar work is good, in spite of the lack virtuose this album has. The songs are more vocal-oriented and radio-friendly, but Wilton and DeGarmo have space to shine every once in a while.

Geoff Tate, oh Geoff Tate, I can't believe this guy smokes!!!! Age and cigarretes couldn't take away his voice, and the proof is here. He doesn't reach the high notes like he did on "Take Hold Of The Flame" or the little piece of perfection "Queen Of The Ryche" but who cares? The man is singing and his voice is still beautiful. The vocal lines are excellent too. For the rhythm section, no extras remarks but also no complaints, Ed Jackson and Scott Rockenfield do their job efficiently.

Tribe marks the beginning of a come-back-to-form era for Queensryche. It's not up to pair with their early classics but showcases a band with energy, writing enjoyable and excellent songs. Definitely a step in the right direction.

Highlights: Open, the amazing title-track, Desert Dance, The Great Divide