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MARTY FRIEDMAN

Progressive Metal • United States


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Marty Friedman biography
Marty Friedman is an American virtuoso guitarist, originally from Washington D.C, USA and born on the 8th of December 1962.

He is a mainly self taught guitarist, known for his formidable sweep picking technique, excellent improvisation skills, use of exotic scales and overall amazing technical facility on the guitar.

He played in the bands DEUCE, HAWAII and VIXEN (a different band to the all female band that shared the same name).

More notably, he played in the Speed/thrash/neo-classical metal band with teenage guitar prodigy Jason Becker.

The two guitarists became known as incredibe virtuosos while in the band, demonstrating some of the most technical lead guitar playing of the 80s..

The band lasted two albums before splittng up in 1989.

In 1988, Marty Friedman released his first solo album, called "Dragon Kiss", with Jason Becker guesting on 2 tracks, and also featuring drummer Dean Castronovo on drums, with Marty doing all rhythm, lead and bass guitar.

The album would become widely revered in virtuoso guitar/instrumental rock/metal circles.

Dave Mustaine, having been impressed with what he heard on Dragon Kiss, hired Marty Friedman as main lead guitarist.

During his time as guitarist for MEGADETH, the band released the album 'Rust In Peace' in 1990 which would go on to become one of the most influential and important thrash metal records ever. Marty continued with his solo albums, but left MEGADETH in 1999, citing reasons such as not wanting to play metal music anymore and feeling like his abilities were not being used to their full potential.

His 2008 release, "Future addict", consists of reconstructed, reworked and some completely remade songs spanning his career from Deuce, all the way to his more recent recordings.

(Thanks to Harry - HughesJB4- for the artist's info.)

Marty Friedman official website

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InfernoInferno
Prosthetic 2014
Audio CD$7.99
$4.40 (used)
Dragon's KissDragon's Kiss
Shrapnel 1990
Audio CD$12.67
$7.49 (used)
Spacewalk: A Salute to Ace FrehleySpacewalk: A Salute to Ace Frehley
Triage Records 1996
Audio CD$21.81
$5.59 (used)
Tokyo Jukebox Vols. 1 & 2Tokyo Jukebox Vols. 1 & 2
Prosthetic 2012
Audio CD$11.58
$12.14 (used)
ScenesScenes
Shrapnel 1992
Audio CD$13.76
$5.41 (used)
Bad D.N.A.Bad D.N.A.
Prosthetic 2012
Audio CD$8.26
$7.38 (used)
Music for SpeedingMusic for Speeding
Import
Provogue Import 2003
Audio CD$10.19
$20.04 (used)
LoudspeakerLoudspeaker
Prosthetic 2012
Audio CD$7.99
$6.98 (used)
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MARTY FRIEDMAN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MARTY FRIEDMAN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.93 | 17 ratings
Dragon's Kiss
1988
3.77 | 13 ratings
Scenes
1992
4.14 | 16 ratings
Introduction
1995
3.16 | 6 ratings
True Obsessions
1996
3.86 | 7 ratings
Music for Speeding
2003
3.56 | 9 ratings
Loudspeaker
2006
3.04 | 5 ratings
Future Addict
2008
3.17 | 4 ratings
Tokyo Jukebox
2009
2.19 | 7 ratings
Bad D.N.A.
2010
3.60 | 5 ratings
Tokyo Jukebox 2
2011
3.83 | 10 ratings
Inferno
2014

MARTY FRIEDMAN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Exhibit A: Live In Europe
2007

MARTY FRIEDMAN Videos (DVD, Blu-ray, VHS etc)

0.00 | 0 ratings
Exhibit B: Live In Japan
2007

MARTY FRIEDMAN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.10 | 2 ratings
Tokyo Jukebox Vols. 1 & 2
2012

MARTY FRIEDMAN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

MARTY FRIEDMAN Reviews


Showing last 10 reviews only
 Scenes by FRIEDMAN, MARTY album cover Studio Album, 1992
3.77 | 13 ratings

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Scenes
Marty Friedman Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars New age metal anyone? Well here is one of the few examples of such a combo and perhaps one of the greatest style shifts between first and second album in all of rock history, well at least in the metal world. MARTY FRIEDMAN needs no introduction and stunned the world with his outstanding unique style of neoclassical shredding skills with his days with Jason Becker in Cacophony on his solo debut "Dragon's Kiss" which was more than enough to win over Dave Mustaine and earned him a spot as lead guitarist in Megadeth creating some of the tastiest thrash metal ever to grace the ear drums. After a few years with Megadeth touring and creating metal music MARTY said that he burned out on the whole metal thing and needed a break from the style and wanted to experiment in other styles. The result of this desire was realized when he hooked up with composer and producer Kitaro, a fairly well known Japanese new age artist who has released a ridiculous amount of albums.

SCENES is a strange anomaly of a musical experience. It is first and foremost a guitar album but this is way different than what Shrapnel Records was known for. Much more known as a shredder's paradise which gave FRIEDMAN exposure to the greater musical world, SCENES is not only a departure for FRIEDMAN from his metal-centric reality but for the label as well and the best part of which is that the notorious crappy tinny shoddy production values that Shrapnel Records was famous for is thankfully missing here. This album is crisp and clean and every tiny sound being magnified into its full potential.

The music is a strange hybrid of exotic Eastern inspired cleanly played guitar scales with symphonic atmospheres shrouding every single note. The guitar playing is very tasty and instead of MARTY's usual million notes a second methodology, he plays slow to mid tempo arrangements that after fully unfolding accompanied by lush symphonic orchestral type arrangements only then explodes into a harder edged rock and metal with his electrified solos. Everything though is quite calculated and slave to the melodic developments. Nothing is left to improvisation or "unwelcome" notes. There is a clear Japanese influence on this one signifying FRIEDMAN's ever growing fascination with the Oriental world and musical styles even to the point that his future wife Mimi also contributes vocals in Japanese on "Realm Of The Senses" the most obvious Oriental sounding track of the lot. In case you are familiar with "Dragon's Kiss" the last song "Triumph" on here is indeed a new age version of "Thunder March."

If you could possibly entertain the notion of one of metal's greatest lead guitarists exhibiting his talents in a subdued dreamy atmospheric Eastern parade of beautiful and catchy melodies exercising as much restraint as his off-the-leash shredding then you should definitely check out SCENES for it is an extremely tasty and well thought out album that is as far as i know utterly unique in its experimentalism crossing unlikely metal shredding guitar sounds with symphonic new age sensibilities. I would rate this higher because the guitar playing, the melodic developments and Brian BecVar's atmospheric keyboards are top notch but what holds this back a wee bit for me is that long time associate Nick Menza's drumming style is a little too obsequiously laid back to the guitars and sometimes the keyboards can sound a little cheesy (especially on "Valley Of Eternity.") This is an album i fell in love with a long time ago and have listened to it countless times and it still instills the same thrill and awe that i experienced the first time around. A long time favorite that i love to break out now and again

 Future Addict by FRIEDMAN, MARTY album cover Studio Album, 2008
3.04 | 5 ratings

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Future Addict
Marty Friedman Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars FUTURE ADDICT is the eighth album by MARTY FRIEDMAN who, of course, played with Cacophony and Megadeth but has actually released more solo albums than with either of those bands. MARTY is known for his virtuosic neoclassical shredding skills, of course, but he has been fairly eclectic with his solo releases. While his debut 'Dragon's Kiss' and other releases such as 'Music For Speeding' focused primarily on shredding up a storm, he has also released the new age meets metal album 'Scenes,' an eclectic symphonic album and right up there with his unpredictable repertoire is FUTURE ADDICT which is mostly a collection of remade versions of songs from his entire career only re-themed into J-pop themed metal. The music actually sounds more like some kind of progressive punk in its presentation. This album has a collection of guests helping out. MARTY of course contributes the guitars, but Jeremy Colson helps out on vocals and drums while Billy Sheehan also joins the party with Masaki sharing bass duties. Jeff Loomis also contributes some guitars and Elizabeth Schall helps out with backup vocals.

While these are all remakes there are three new tracks and two of them begin the album. 'Barbie' sound like a grunge version of the 'Rosemary's Baby' theme which is very short at only one minute and then abruptly turns into 'Simple Mystery' which is a heavy alternative rocker. The closer 'Tears Of An Angel' is the other original track and it is the odd track out as it sounds more like a melodic symphonic guitar song like off of 'Introduction' and sounding unlike the punk infused metal rockers that constitutes the rest of the album.

This album went over like a pile of doggy doo in the punch bowl when it was released. This album totally rubbed MARTY's fans the wrong way and i can actually understand why. For one thing he does the unthinkable by punkifying sacred cows such as 'Tornado Of Souls' from Megadeth's magnum opus 'Rust In Peace,' Cacophony tracks like 'Burn The Ground' and 'Where My Fortune Lies' as well as tracks from his entire career including his very first band Deuce. A novel idea and one worthy of exploration and i have to say that i do not find this album as hideous as the rest of the metal world seems to. While it is probably the nadir of MARTY's discography it is an interesting listen to hear a virtuoso play J-pop inspired punk of his prior musical output. The production is pretty raw and obviously designed to be that way. It is very weird to hear punk like creations that also have neoclassical guitar solos inserted.

While some of the tracks are admittedly of bad taste and should have been axed from the playlist, the overall effect is not the brutal rape of the eardrums as many would have you believe. True Colson isn't the cream of the vocal crop but does lend an interesting amateurism to the mix. MARTY seems to have succeeded in sounding like a garage revival band of sort breaking that spell only with some of the technical wizardries that he can't refrain from. This is a decent album although i'm the first to admit it's probably my least favorite of his lengthy disco. Tasty riffs, nasty solos and the J-pop punk energy is certainly there. Maybe he's just completely gone Japanese after living in Tokyo and hosting TV shows like Rock Fujiyama and Jukebox English for a little too long. It certainly made him whacky for this one but hey, he's constantly reinventing his sound so fear now. I personally like this, at least most of it.

 Inferno by FRIEDMAN, MARTY album cover Studio Album, 2014
3.83 | 10 ratings

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Inferno
Marty Friedman Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars MARTY FRIEDMAN displays his most diverse album yet on his 11th album INFERNO. The secret to the wide array of sounds on this one is not only does MARTY mine his entire output of the past for sounds and ideas but also includes a whole army of guest musicians to make a highly successful solo album that doesn't sound as such. Despite it officially being a solo album this is a true collaborative effort of many different talents on board with MARTY on board as the official director of the project. I can suspect that he may have gotten this idea from Buckethead's "Enter The Chicken" from 2005 which takes this same approach.

As with his usual solo albums INFERNO displays aspects of thrash and progressive metal with his unique virtuosic neoclassical solo skills in full display. MARTY has been a favorite guitarist of mine for some time because he doesn't rely on technical skills alone but rather deftly intertwines them with brilliant ideas with emotional depth well beyond the average guitar wankery. There is flamenco / metal fusion on "Wicked Panacea" with Rodrigo y Gariela, industrial metal sounding pounding on "Steroidhead," the punk inspired "I Can't Relax," the John Zorn meets groove metal track "Meat Hook" with JÝrgen Munkeby delivering an absolutely killer sax frenzy, the death metal meets melodic trad on "Sociopaths" with David Davidson screaming on vocals, the sublime guest vocals of Alexi Laiho of Children Of Bodom on "Lycanthrop" and "Horrors" which somehow compiles guitar action from Jason Becker who is now paralyzed from Lou Gehrig's Disease (probably an archival thing).

If you love the high energy intensity of his debut "Dragon's Kiss" and the Cacophany albums with all the influences from the experimental fusion albums ranging from "Scenes" to "Tokyo Jukebox" then you will love this. I have to say that MARTY FRIEDMAN never rests on his laurels and despite an album or two that gets bogged down in a pool of stagnate reservoirs, more often than not MARTY knows how to up his game delivering some seriously intensely creative metal guitar with smokin' sizzlin' solos that blow away most of the competition. I personally think this is one of MARTY's best despite having a very consistent discography on his hands.

 Dragon's Kiss  by FRIEDMAN, MARTY album cover Studio Album, 1988
3.93 | 17 ratings

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Dragon's Kiss
Marty Friedman Progressive Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars MARTY FRIEDMAN may be best known for his decade long stint as lead guitarist for Megadeth churning out metal masterpieces like "Rust In Piece" but it was this album that Dave Mustaine heard that convinced him to hire MARTY to fill that roll. His debut solo album DRAGON'S KISS has been a favorite shredding classic for a long time now. After the two album duration in Cacophony with fellow neoclassical shredder Jason Becker, MARTY FRIEDMAN released his own thunderous roar of a shredder's manifesto. This is an all instrumental affair with MARTY handling all guitars, bass and production. Jason Becker makes a cameo on three tracks and Deen Castronovo from Cacophony handles drumming duties. This is an early Shrapnel Records release and like most of them from the era the production is utter crap.

This is an album for lovers of virtuoso musicianship. MARTY FRIEDMAN remains one of the finest guitarists in all of rock history but on this debut album he displays his sweeping arpeggios, exotic scales, masterful picking and progressive time signatures with a sense of flair and bravado unmatched on his following solo releases. MARTY is all about worshiping the melody and nails it on every move here. Although he can shred like nobody's business, it's his calculated discretion as to when to do so and when to let the note wail milking every conceivable possibility for its use. The music here is thunderous traditional 80s metal with speed ladened licks running up and down the scales shifting moods and tempos in a flash but also contains fair amounts of laid back slow building crescendo inducing scales and chord changes. Every little note is well placed and the aim of this music is to create a pleasing emotional response while simultaneously blowing your mind technically speaking.

DRAGON'S KISS is simply put a brilliant masterpiece of instrumental music that works in every possible way. Melodically, energetically, exotic flair etc. I am so tempted to give this 5 stars because MARTY's guitar playing and songwriting are of that caliber however the production is just awful and MARTY's bass playing skills don't match his guitar talents. A very close call but these flaws really keep this album in the 4 star range. If you are thrilled by faster-than-the-speed-of-light guitar wizardry that worships the melody then this is a mandatory addition to any guitar freaks collection where melody rich metal will melt your soul with every sweeping picking frenzy. Every track on here is outstanding but I still have a few faves. One of my absolute favorite instrumental musical pieces ever is the mind-blowing "Forbidden City" followed by "Evil Thrill," the beautiful "Narada" and "Jewel."

 Introduction by FRIEDMAN, MARTY album cover Studio Album, 1995
4.14 | 16 ratings

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Introduction
Marty Friedman Progressive Metal

Review by Gatot
Special Collaborator Honorary Collaborator

4 stars A good friend of mine gave me the cassette of this album by veteran Megadeth's guitarist marty Friedman and I just put the cassette on a shelf and never got interested to play as I thought it's gonna be full with guitar shredder. Well, actually nothing wrong with it and I sometimes enjoy that kind of guitar playing. After years never touched the cassette, another friend of mine posted a good review about Marty's "Scene" album where the music is basically not that guitar shredder, then ... I remember this cassette. So, I played it and surprisingly I was impressed at first listen as it's very far away from guitar shredder kind of music. I was really surprised. So I keep playing it as the music is quite peaceful.

The overall album flows the music in almost similar way, with new age influenced kind of music. I am impressed with the opening track Arrival (4:52) with its ambient style and good guitar playing. It applies the same with tracks that follow: Bittersweet (5:27), Be (4:51) and the rest. In Luna (5:17) he inserts the female Japanese voice that makes the track sounds different. I also like the melody of Mama (3:55). The concluding track Siberia (4:19) is rich in nature and I do enjoy the track right from the start to end with all of its subtleties.

Overall, it's a highly recommended album and it's an eye opener for me personally as I have never imagined Marty's music is something like this. It's so peaceful listening to this album. Keep on proggin' ...!

Peace on earth and mercy mild - GW

 Tokyo Jukebox Vols. 1 & 2 by FRIEDMAN, MARTY album cover Boxset/Compilation, 2012
3.10 | 2 ratings

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Tokyo Jukebox Vols. 1 & 2
Marty Friedman Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Tokyo Jukebox vols. 1 & 2" is a compilation release by US guitarist Marty Friedman. The album was released through Prosthetic Records in November 2012. "Tokyo Jukebox vols. 1 & 2" is basically a re-release of Marty Friedman's 8th and 10th full-length studio albums "Tokyo Jukebox (2009)" and "Tokyo Jukebox 2 (2011)" albeit without the tracks "Beautiful Days", "Little Braver" and "Sukiyaki" from "Tokyo Jukebox 2 (2011)". The former Megadeth (and Cacophony, Vixen, Deuce and Hawaii) guitarist has been living in Japan since 2003, where he is a pretty known name these days, having hosted two television shows, been a column writer and having played guitar with several profilic Japanese artists (among other things). Apparently he has a great love for all things Japanese and even speaks the language fluently.

Therefore it's not the greatest surprise that the material on "Tokyo Jukebox vols. 1 & 2" are metalized instrumental cover versions of J-pop tracks. The nature of Marty Friedman's solo material have always been eclectic and at times quite exotic, so doing cover versions of J-pop tracks doesn't at all seem out of place for him. As mentioned these are metalized cover versions and some of them feature both fast paced metal rythms and heavy riffs in addition to Marty Friedman's brilliant solo and lead playing. He adds quite a bit of soul to the sometimes polished and easily accessible pop melodies and his arrangements of the tracks are generally of high quality too. The tracks from both albums are very well produced (the tracks from volume two features a slightly more organic sound quality than the tracks from volume 1) and "Tokyo Jukebox vols. 1 & 2" is overall a quality release.

Wether or not you're able to appreciate the pop melodies and polished nature of the music is probably an aquired taste. I guess this release falls under the "open minded music listener" catagory, but personally I enjoyed the quirky nature of the music. There's a sort of happy bubble gum innocence to it, that's somehow greatly charming. A 3.5 star (70%) rating is deserved.

 Tokyo Jukebox by FRIEDMAN, MARTY album cover Studio Album, 2009
3.17 | 4 ratings

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Tokyo Jukebox
Marty Friedman Progressive Metal

Review by Prog Sothoth
Collaborator Prog Metal Team

3 stars Marty is best known as a guitarist for Megadeth from its lofty heights (Rust In Peace) to embarrassing lows (Risk), but these days he's basically a go to guy to support Japanese pop starlets in concert and in the studio. This album basically cements his obsession with what is commonly referred to as Jpop, and insinuates that he'll probably never go back to Megadeth for any reunion tour, much to the chagrin of Rust In Peace fans & such. Seriously though, if I were to put myself in his shoes, would I rather support an aging "born again" egomaniacal dude or a twenty year old Japanese girl in a miniskirt to roughly the same size audience (unless its some serious A-lister Jpopper, which translates to a stadium sized crowd)? Exactly.

So here Marty takes a bunch of Jpop numbers and basically morphs them into metal instrumental pieces. Most of the tracks are played with a heavy metal edge to them, with the opening track veering into pure thrash aggression. The overall results of this project are sort of a mixed bag. The interesting thing about Japanese pop is that it tends to be more 'melody' based than 'vocal prowess' based like a lot of western acts, thus the music itself has some strong melodies and memorable chord progressions built right in, which in turn leaves little room for improvisation...in this case, guitar solos over a basic backdrop chord sequence. Yes, this is a guitar showcase, but the shredding and general wankery has to be incorporated within the tight song structures rather than given space to breathe for a crapload of bars after a couple of minutes into the tune. Also, some of these melodies do sound similar after a while, with a sort of signature vibe of "energetic joyful vibrancy with just a slight melodramatic undertone". Some of these songs really tend to blend into each other after awhile. The song "Story" is such a generic jpop template that it seems like a strange choice for an instrumental metal workout. Metal muzak for elevators that soar up and down really fast.

There are two songs that stand out for me. One is the album's centerpiece, "Polyrhythm", a rockin' version of a sprightly techno song that has a real mind-bender of a mid-section. I kind of dug the original for the loopy polyrhythms that pop after the first chorus, so it was cool to hear Marty and the gang mimic all this crazed techno wonkiness. As a result, this song actually sounds progressive, easily the most interesting and memorable cut off the album. The finale track is a standout too, with its majestic vibe and synth washes to back up the guitar's interpretation of original singer Alan's stratosphere reaching vocals.

It's a bit much to digest though as a whole...sort of like trying to eat an entire birthday cake by yourself. There are nobler tasks one can undertake.

Still, it's good for a few slices, sugary and loud for sure, but the enthusiasm can be felt in the delivery. An interesting endeavor.

 Scenes by FRIEDMAN, MARTY album cover Studio Album, 1992
3.77 | 13 ratings

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Scenes
Marty Friedman Progressive Metal

Review by Marty McFly
Special Collaborator Errors and Omissions Team

3 stars Atmospheric synth (positive side of Tangerine Dream's work), endless guitar solos, a lot of virtuosity, all instrumentals (erm, except Realm of Senses, but I don't think it counts). We receive something that comes straight from a heart. It's not Progressive Metal at all. Hell, it can almost be used as a relaxation music, so calm, so much serenity feeling like it is.

This album should be one of the influences for certain part of Octavarium song (by "Dream Theater") and it's easy to spot which part.

There is not really much to say about this piece of gentle music that is like a ever happy puppy, always trying to please. 3(+)

 Bad D.N.A. by FRIEDMAN, MARTY album cover Studio Album, 2010
2.19 | 7 ratings

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Bad D.N.A.
Marty Friedman Progressive Metal

Review by snobb
Special Collaborator Honorary Collaborator

2 stars New ex-Megadeth guitarist and solo musician Marty Friedman's album is what you expect from him. It far not trash metal of his one time band, but melodic and pop oriented guitar shredding with simplistic back up of few other instruments.

From very first sounds album's music sounds very energetic and bombastic, with quite pleasant tunes. But after very few compositions listener will be bored - all songs are very similar, made according to same formula, and in fact are pop-influenced metal guitar shredding demonstration with minimal support from very simplistic rhythm section and some electronics.

This work is not typical axe-hero recordings; it's just too soft and too pop-oriented for that. This music is just more Marty's guitar playing demonstration, but with obvious airplay orientation. As a result, every separate composition is not too bad, even if often presents more instrumental pop-metal, than any form of progressive rock.

But in whole, the album is just not very successful collection of such enough faceless compositions without even traces of experimentation. Too often music sounds even too commercial.

This album possibly will attract Marty's fans, but hardly will be interesting to any other prog rock lover.

 Introduction by FRIEDMAN, MARTY album cover Studio Album, 1995
4.14 | 16 ratings

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Introduction
Marty Friedman Progressive Metal

Review by Alitare

5 stars The prettiest instrumental metal album that isn't one at all...

Marty Friedman isn't afraid to show his softer side, that is for sure. As this album eschews any form of his thick metal past in favor of a new age influenced and thoughtful release that takes composition and sheer prettiness over any sort of instrumental guitar cliche. Arrival is so somber and beautiful. The melodies are never lost, nor are they ignored. They are put in front along with atmospheric sensibilities and sonic exploration.

You can plainly see the the new age and eastern (particularly Asian) influences on his sound. Bittersweet contains a prudent and morose melody that worms itself into your very heart. The guitar is rarely ever prominent, either. This leaves room for the violin and cello to shine through so magnificently. Be has him taking his progress from Scenes and applying it to his matured sense of songwriting and composition. This record is moody in the best way.

Escapism has to be the album's centerpiece and main accomplishment. Taking vast melodic cues and stringing them through such soulful eclipsing execution. And it never gets boring. The passages are emotional and they are loose and flowing. Luna has such a vivid piano accompaniment. And the soft vocals inherent are evocative.

Mama has a lurid grave about it. This feels as if it were the soundtrack to the prettiest movie you've ever seen. Each movement has such alluring grace. No showmanship at all. This is not a record to prove one's technical prowess. Although in a compositional view, this could very well do the trick. Loneliness feels just as that. The melodies are so rich and textured. Accentuated by faint and soft effects and crystalline production. Is that a flute I hear? Yes, this album is more varied than any of his previous work. The moods are varying, and it is an affecting album. His guitar playing is so fluid and comfortable. Siberia closes things off on a cold flourish.

This album marks Marty Friedman's creative peak. The melodies are vast and awe inspiring. The playing is confident and alluring, and it all feels strikingly cohesive. Brilliant.

Best Song - Escapism

Worst Song - No real weak material here, but possibly Mama

***** Stars.

Thanks to The T for the artist addition.

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