The Verdict

Album review

After nearly four years, Seattle metal heroes Queensrÿche return with their most progressive album since the departure of founding singer Geoff Tate. His replacement, Todd La Torre, has grown into and claimed that slot with authority and etched his persona into the band's DNA. That said, this date marks another big change in the lineup as well: founding drummer Scott Rockenfield has been on extended leave for nearly two years (following the birth of his son in 2017), with Kamelot drummer Casey Grillo filling in.
Just as La Torre channeled Tate on the band's 2013 self-titled offering to acclimate himself, Grillo does that with Rockenfield on The Verdict. He doesn't ape the drummer so much as build on his basics, and never overplays. Of course, this means that Queensrÿche are down to two original members in guitarist Michael Wilton and bassist Eddie Jackson. For fans nervous about what the change means, have no fear: on the Zeuss Harris-produced The Verdict, Queensrÿche sound more like their proggy selves than they have in over a decade.
Opener "Blood of the Levant" rips out of the gate on full riffing stun with the three frontline players -- Wilton, Jackson, and guitarist Parker Lundgren -- locking in full-on chug. Grillo's kit work is packed with groove and La Torre's vocals have never sounded so clean and natural. His upper register and falsetto are smooth and expressive. The bridges in the tune offer melodic hooks and shifting dynamics constructing a narrative within the music itself. Even better is the relentless "Man the Machine," although it's even more musical. It is also feistier and more aggressive with wonderful twin leads and snarling rage from La Torre. Before changing pace, Queensrÿche deliver another whomping prog metal jam with an ominous guitar line and a hook-laden chorus. "Inside Out" is an arena rocker par excellence with post-psych overtones, while "Propaganda Fashion" delivers the massive drums and interlocking prog grooves. "Dark Reverie" showcases Queensrÿche's trademark orchestral persona amid sweeping synths, melded acoustic and electric guitars, and dynamic cresendoes worthy of Empire. "Inner Unrest" is a knotty wailer whose only fault is its length (under four minutes). "Launder the Conscience" commences with staggered lead guitar riffs and a swinging drum vamp framing an intricate melodicism and great lyrics. The tempo changes and the dynamic shifts are nearly breathtaking. Closer "Portrait" is the only true ballad here. While it might seem strange (initially) to end the set with such an atmospheric tune, it's actually perfect with cascading vocal harmonies and twin guitars offering a loping, reigned-in tension to contrast the killer lyrics, heartfelt melody, and popping, shuffling drums. The Verdict is Queensrÿche's finest effort post-Tate, and bigger and bolder than at any time since the early '90s. It reveals a band that has returned from a long period in the wilderness to reclaim their trademark creative strength and power.

© Thom Jurek /TiVo