For what continues to be undisclosed reasons, longtime skinsman Scott Rockenfield never recorded parts on “The Verdict.” In a rather Phil Collins’-in-reverse move, La Torre not only sang but took over the drum duties, delivering an unexpectedly solid performance. There have been more casualties in personnel. And now 2022’s “Digital Noise Alliance” leaps off from that starting place. “Condition Hüman” explored some new territory without straying too far, but it was “The Verdict” that finally re-claimed the hungry, heavy, signature sound of Queensrÿche. The self-titled “Queensrÿche” established the impressive vocal capacity of La Torre and made an effort to recapture the classic sound without rehashing old ground. Each one seemed to build momentum and refine the band’s process of returning to relevancy.
A court case ultimately settled in favor of granting La Torre’s team the official brand moniker.įor my tastes, I would suggest that the first three records with Todd La Torre at the helm did much to restore the faith and respect of the music that fans initially were captivated by in the 80s. Tate seemed to keep reaching for something that proved to be elusive.
Todd seemed to understand the identity of the original band, and moved the members to respect the old work and realign itself with what made the band great. Judging from their output, La Torre’s team pulled far ahead and left Tate’s version in the dust. Were either of these version legit? What happened to band that jolted the world in the late 80s with cerebral yet crushing metal? In the years that followed, both teams raced to release records and lay claim to the title of legitimacy. Now the fan base was forced to choose sides. Todd La Torre stepped into the significantly large shoes of Geoff Tate and fronted a Tate-less version with the remaining members, while Tate took his own version on the road with a motley mix of journeyman players. The live shows were uninspired, and in 2012, the rock headlines told the tale of a lead singer spitting on his drummer in Brazil, with the need to physically separate them-a split that would eventually become permanent.
Rumors abounded of dissention in the ranks, and with 2011’s ironically titled “Dedicated to Chaos,” Queensrÿche hit rock bottom. The ill-conceived attempt to capitalize on the commercial success of “Operation Mindcrime” with a sloppy sequel simply tarnished the brand and dragged the name through the mud. Tate’s pipes were simply not enough to rescue the records from flat songwriting and the void that appeared when DeGarmo left. The next five records were mediocre or worse, and it was very apparent that the magic had been lost. Much of what came after seemed to be heavily directed by Geoff Tate, whose distinctive, soaring lead vocals were a signature aspect of the band. “Hear in the Now Frontier” (1997) was an absolute identity crisis, ushering in the departure of Chris DeGarmo, who many fans considered the soul of the band. After reaching the band’s creative apex with the titanic metal pairing of “Operation Mindcrime” (1998) and “Empire” (1990), things began to unravel with 1994’s “Promise Land,” which lacked the cohesive catchy punch of its predecessors.
The line-up casualty roster reads like police report. Their road to madness has been long, winding and hard-suffering, especially for the fans, whose loyalty and patience has been tested with endless dramatic headlines. In fact, they could easily have titled this record “Phoenix” because an absolute beast is rising from the ashes. But not this rendition of the thinking man’s metal band from Seattle.
TORMENTUM DARK SORROW ALL PAINTINGS RESTORED PROFESSIONAL
Such appears to be the case with Queensrÿche, who have not just weathered the difficulties that COVID-19 inflicted upon the entire music industry, but also an entire slew of personal and professional difficulties that would certainly convince a good many bands to lay down and die. I guess the old adage is true: What doesn’t kill you only makes you stronger.
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