Since the beginning Outune.net is in the luck to be in a close relationship with an amazing band: Alter Bridge. Just few weeks before the third record's release, we had the chance to listen to “AB III” in its entirety.
MARK TREMONTI GREETS OUTUNE.NET
At the end of this wonderful listening session we were under the impression that this record, 65 minutes and 44 seconds of length, has closed in upon us in a mesmeric way from beginning to end. An experience that reveals another unpredictable side, different from the awesome debut “One Day Remains” and the masterpiece “Blackbird”. This choice is both dangerous and intentional to disorient people at first hearing and force them to analyse it thoroughly; Alter Bridge don't want to mix with the latest trends and in the meantime not to despise a modern brilliant production. If we contemplate a much critical eye, the earliest fan could not welcome this record immediately, as well as people who disregards “extra features” of the band with more famous “brands” like Creed and Slash... We underline that “AB III” will require more than one or two listenings to be appreciated and understood at your best. Here you are our opinions of the whole album.
Slip To The Void – An atmospheric intro with the dramatic voice of Myles Kennedy, who has never been so obscure before, is the first track of “AB III”. Surprisingly, the intro is broken off by extraordinary riff and many rhythm changes that set the band in a brand new dimension. However, the melody plays an important role, especially in the refrain. That's the way Alter Bridge introduce themselves: they take you away before you can realize what's going on. Amazing track.
Isolation – The first single released from “AB III”. This is one of the most heavy metal tracks that Kennedy and Co. have ever written in their career. This song has an insane energy and we think it will excite every fan, especially played live. Phillips and Marshall have an important role here: they're like road rollers with explosive creativity and madness.
Ghost Of Days Gone By – If someone has just begun to think that “AB III” is too monolithic, you're getting damn wrong! This song is much more smooth, the rhythm is slow and the guitar is so unusual that you may think you are listening to The Edge...don't worry, that's the only comparison with U2! In fact you can find a crescendo in the mid part of the song where Myles Kennedy dramatically cries out “I don't wanna die!”. Tremonti darkens the atmosphere of the song to puzzle the listener even more.
All Hope is Gone – Myles Kennedy meets Jeff Buckley once again. The incipit is acoustic, distressing, it passes through the whole song until a metal turn made of full and warped blows. The meaning is: don't rest on your laurels, dear fans...
Still Remains – Shredders have expected this song, that was once known as “Riffariffic” (fans spread this news across Alter Bridge's fans forums). We notice (and lead an ear) to a flash of “Come To Life” as there's a considerable change of key from the chorus to the bridge. This song gets even stronger when Tremonti performs an incredible riff winking at thrash metal. With this solo the only thing you have to do is sinking in the headbanging and moshing, even if you were in a room alone with your desk. This track is simply amazing.
Make It Right – The road to the Alter Bridge we once knew continues thank to an excellent strophe, maybe even stronger than the chorus. As we are thinking we miss Tremonti and Kennedy's solos, Mark give us a present and turns out a very long but extraordinary technical solo. You could only think “please go on, man!”
Wonderful Life – This seems a classic ballad but it has a stately electric vein that Myles Kennedy, who's giving us the creeps, praises at his best in the acoustic incipit. The song slightly remembers “Watch over you”. It's not a masterpiece but you enjoy listening thank to Alter Bridge's spontaneity.
I Know It Hurts – Excellent. It is opened by the most beautiful riff in “AB III”, it's a jewel with a very melancholic refrain, overwhelmed by a predictable metal turn that persuades you to expect a “growl” part that (luckily?) never comes.
Show Me A Sign – Just like the previous track, we have a classical and very dark mid tempo, that crashes against an unpredictable break in a huge contrast between a lot of feelings. Myles allowed himself to make wonderful solos also here. This is a genuine track that confirms what Myles Kennedy said about “AB III”: "moody record”. Period.
Fallout – this song seems to reduce a positive trend and it doesn't drive us crazy. It is based on a great melody played as an arpeggio and an involving refrain. “Fallout” reminds us of “One Day Remains”. Although it's been a while since the band's debut, this track is nothing special.
Breathe Again – This song is so sweet as honey. Maybe too much honey. “Breathe Again” is a true ballad that turns up our nose but gives Myles Kennedy the chance to rule in the limelight. He's the best singer of the decade and the changes of register, technicals more than ever and never boring at the same time, are e real proof. (If you want to hit back...forever hold your peace.).
Coeur D’Alene – Unexpectedly, this is a sabre-cut that shock us thank to an amazing riff, an identification mark of Alter Bridge. The verse is obscure and it gives a key to contribute a full-scale point of view. A thousand souls blend themselves in a beating and distressing heart.
Life Must Go On – Here you are a typical Alter Bridge track. After so many songs that have thrown us, we welcome the Tremonti-style with great delight: the strophe is strong, and the chorus has a wonderful melody and a blaze of glory. Well done, men!
Words Darker Than Their Wings – There have been so many comparisons with “Blackbird”'s titletrack to end the concept (we will analyse in a very close future, having all the lyrics, if there's a link between every composition. Now we are only talking about arrangements.). We are almost right but we also think that “Blackbird” is better than this song. It doesn't mean that we don't like “Words...”. It is one of the most wonderful song in the album, the succession between Myles and Mark's vocal and the magnificent chorus makes us jumping from our chairs. In the ending Kennedy goes far with incredible registers (unexplainable how high he goes until you hear that!). It should have been longer (longer, and even more longer…) ‘cause it’s another killer track.