QUEENSRYCHE

'Frequency Unknown' - Tateryche (3/10)

There are few things that unite the metal community so much as a healthy hatred for a [&*!#]ty album. Metalheads are still blasting Celtic Frost's "Cold Lake" over beers a quarter-century following its release, as similarly has been the case for Metallica's "St. Anger". More recently- and especially since social media took off- these love-to-hate-'em records seem to become social events; there were jokes and memes aplenty about the infamous "Ilud Divinum Insanus" by Morbid Angel, or "Lulu" by (again) Metallica. Although there's no doubt that these blackmarked records indeed deserve the flak and lambast they've received, I've gotten the impression that such overwhelming and ubiquitous vitriol for an album can lead to a herd effect, where listeners will despise a record before it's even released. I've seen "Frequency Unknown" called everything from 'pop rock trash' to 'the worst album ever made', and though this Geoff Tate-dominated offshoot of the original Queensryche is little- deserving of praise, the album is not nearly as atrocious as some of the more adamant naysayers might have us believe. Unless you're dead set on comparing "Frequency Unknown" to the work of the band's heyday, there's little of an overtly offensive nature to be heard here. It's sterile, shallow and completely harmless, and in a way, that's a fate far worse than the atrocity fans prematurely made it out to be; at least then, I may have felt something from this.

Queensryche- or, as I will refer to this project henceforth in the review, Tateryche- has been the subject of some controversy in the recent months. The stories of threats at knifepoint, business squabbles and total artistic meltdown could easily be adapted as a film or critically-acclaimed television series. I could write paragraphs on the drama alone, but the important thing is that two Queensryches have emerged from the ashes, one being the 'real' Queensryche, the other being longtime vocalist Geoff Tate and a revolving door of musicians to play under him. In this sense, it's sort of like what happened with the two Rhapsody of Fires, although they never let the drama get overtop of the music. Although it's yet to be seen what the real Queensryche will do under these new terms, Tateryche has embraced this drama and anger to the point where it has become the music. The album's initials ("F.U") are as subtle as bolded caps-lock, and the lyrics make no effort to veil Tate's bitterness. The album's six-week production cycle seems rushed only to have an album out before the opposition. Ultimately, it's impossible to regard the album without its dubious context, and though it pains me to say as a lifelong Queensryche fan, there would be no reason to check out this album were it not for the circumstances around it.

There is little surprise in "Frequency Unknown"s musical direction. 2011's "Dedicated to Chaos" was a pretty awful result of Tate's desire to take the band down a more commercially viable and rock-oriented direction. Although it may sound hopeful to call "Frequency Unknown" a step up from that dismal low, there's not a great deal separating this from radio rock detritus. Modern rock radio is indeed a good place to reference when thinking of Queensryche in this latest incarnation. Concise riffs, generic guitar solos and an autistic focus on choruses define the approach to songwriting here. The only thing that really distinguishes this from a hit single is the fact that the songs here are nowhere near memorable or catchy enough to be worth the airwaves. Though there are a couple of fortunately notable exceptions to the rule, "Frequency Unknown" sits in that ugly place where the mainstream goes wrong. It's not even catchy in a bad way like Rebecca Black's "Friday" (remember that one?) or "Gangnam Style". It's simply by-the-numbers rock. Although the backing musicians (particularly bassist Rudy Sarzo) are talented, there's either the sense that they were given no artistic license to express themselves, or no time to express themselves effectively. The guitar solos- while functional- sound sloppy, as if they were the first or second cut of an improvised noodling.

Thankfully, a few songs stand out. Although "Cold" is as conventional and by-the-numbers as it gets, it's an enjoyable tune that oddly reminds me somehow of Kamelot, sans their symphonic element. "The Weight of the World" ends the album on a surprisingly progressive element, slowing down the pace and letting a drama and atmosphere, however bland, to build up as the album ends. Without a doubt however, the album's highlight and one truly enjoyable offering is "In the Hands of God", an eerie and exotic track that recalls their underrated album "Promised Land". If you've had the magnanimous fortune to come across a 'special edition' copy of the album, Geoff Tate includes a few re-recorded versions of Queensryche classics. It's really here where you get the impression how objectively inferior Tateryche is, especially when compared to the 1980s golden days. Tate himself has stated that these covers were only recorded for the healthy cash bonus included, and they sound just as impassionate as you would suspect. On these covers and the album as a whole, Tate's voice remains distinctive, but it's clear he retains a fraction of the range he once did. "I Don't Believe In Love" is particularly criminal; he can't hit notes and makes no effort to adapt the arrangement accordingly. Covers- even under the bleak auspices of Tateryche- could have conceivably worked, but only if they had done something fresh with them. Had I been there, I could have made the suggestion to do some down-to-earth unplugged covers. Unfortunately, the re-recorded versions are all the more explicit a reminder that this is no longer Queensryche we're dealing with.

If Queensryche was Lego, then this (whatever this is) is Mega Bloks. As much as it might try to persuade us otherwise, it's an inferior version of a better-known, better-loved thing. "Frequency Unknown" does get some things right, but there are too many weaknesses for it to be enjoyable. A rough, unfinished production mix (that has since been moderately improved), unimaginative musicianship and painfully conventional songwriting keep Tateryche from rising above the silly drama and context. Bitterness can sometimes translate into great art, but at this point, it seems bitterness is the only thing Tate has left. "Frequency Unknown" is not the end-all disasterpiece that some people may have hoped it would be, but there isn't much of a redeeming value here. I do retain a shred of hope that Tateryche might be able to come unto its own and do something interesting, but after seeing how low the Queensryche name has been dragged over the past decade, I wouldn't be surprised future work is stained with equal disappointment and apathy. What I'm most excited for is to see what the other 'ryche will do now. If they manage to come out with anything resembling a solid record, then this schism will have been for the best. As far as Mr. Tate is concerned however, it may be best to focus on memories of better days gone past.

By far the best Queensryche album. Not progressive in a odd time signature, instrumental show off way of Dream Theater, but the story, the songs...it's just all perfect. Stand out singles "I Don't Believe in Love" and "Eyes of a Stranger" have great lyrics and are as catchy as anything out there. Heavy metal songs like "Revolution Calling" and the title track show they can still rock out with good riffs and solos. Tate's voice is incredible and he has a great theatrical performance throughout. "Suite Sister Mary" is the epic and it has very cool gothic choirs. "The Mission" is also a good underrated track which the album is full of. Too bad the band stinks now. Get it and enjoy their only masterpiece. I'd recommend it to all fans of hard rock. prog, and metal.

It's rare that an album that tries to achieves so much combines all of its disparate elements so flawlessly. That's what we're presented with here, with Queensryche's "Operation Mindcrime". I'll try not to gush as I pen this review, however this is one of my top 10 albums ever, so I hope that at least a little gushing is forgiven.

I was first introduced to Queensryche through the Empire and Promised Land albums via a couple of friends. It's ironic to me now that none of us had heard of the earlier album, Mindcrime, since it is a far superior work. To be sure, Empire and Promised Land are both good albums; but they pale in comparison to their predecessor.

When I finally got around to Mindcrime several years later I was floored. Even if this were not a concept album, it would be a great metal album. Every song works brilliantly on its own as an individual piece.

Then you put them together. Whoa.

There is a masterfully crafted story to be pieced together across the album. I won't go into a breakdown of the plot, suffice to say that like any great story, there are some twists and turns, and enough mystery left intact to allow the listener room for interpretation.

Every song sets the perfect mood for the relevant chapter of the tale, from "The Mission" and its gloomy moodiness, to the panicked confusion of "The Needle Lies" and the sweet conflicted love of "Suite Sister Mary". It's mind boggling to me how Geoff Tate comes up with such brilliant vocal melodies whilst providing an information dump for the story at the same time. It's exceedingly difficult, but he pulls it off in the most natural fasion across the whole album.

As for the songs themselves, I could talk about the virtues of every track. I'll single out "The Mission" and "Eyes of a Stranger" for special mention. The former has a brilliantly catchy, instantly memorable groove and the latter a fantastic buildup and outro. The perfect end to an album and a story if ever there was one.

It begs the question why the band chose not to do something similar for albums that followed. Perhaps they didn't have the right story, or wanted to do something different. I for one would have loved to hear more in the same style. I know that many years later Mindcrime II was released, and I did listen to it briefly, but it was not compelling to me. I also viewed it as an unnecessary sequel. The original was a perfectly encapsulated story that did not require such expansion.

And so Operation Mindcrime remains the perfect synthesis of story, music, pacing and production. It remains to this day the yardstick for all other concept albums to follow. And I have not heard one to better it.

In 1988, Queensrÿche released Operation: Mindcrime, a concept album widely praised as one of the best in prog metal, and Queensrÿche's best work. The story concerns a drug addicted young man named Nikki who is manipulated into joining a secret organization bent on revolution. Brainwashed by the leader of the society, Dr. X, Nikki is led to assassinate various political leaders in America. On to the music, Operation: Mindcrime has some of the catchiest songs I've heard in a long time. The many riffs are excellent, staying catchy and accessible while still being proggy. The album has a very nice sense of dynamics, and everything flows together smoothly. None of the songs overstay their welcome, all of them being just the right length to hold your attention. Geoff Tate is at his prime on this album, capable of some very strong and emotional singing. All in all, Operation: Mindcrime is very deserving of it's praise, and is certainly one of the most essential prog metal albums.

Key tracks: Anarchy-X/Revolution Calling, Operation: Mindcrime, Speak, Spreading the Disease, Suite Sister Mary, The Needle Lies, I Don't Believe in Love, Eyes of a Stranger

There are a few times in my life when I can recall hearing something so unlike anything I had heard before that I was instantly amazed and hooked: Judas Priest's Screaming for Vengeance (quite a change from AC/DC and Van Halen), Metallica's Ride the Lightning (my first Metallica album), Nine Inch Nail's Further Down the Spiral (hadn't heard The Downward Spiral yet), Yes's Close to the Edge. And this album: Queensryche, Rage for Order.

I had been a heavy metal fan for four or five years. I was 15 years old and I tried to learn as much as I could about this form of music that I had embraced, from the poppier stuff like Boston and Bon Jovi to the extreme stuff like Celtic Frost and Bathory. I picked up Queensryche's debut ep the moment I heard about it, eager to hear this new band, and I loved it so much I wrote a short essay in grade 8 English class why I thought Queensryche were a top-class metal band. Though not as heavy, The Warning stretched out the soundscape more with the long tune No Sanctuary and the futuristic NM 156. While other metal bands were all about leather, spikes, chains and - in the case of W.A.S.P - saw blades on the crotch, Queensryche were more sophisticated and intellectual it seemed. No thrusting pelvic saw blades at the female members of the audience for these guys!

When Rage for Order came out, I was excited. But nothing could prepare me for what this recording held on its magnetic tape or the photos on the inlay card. What the heck was this? The band was in leather but long leather coats, high fashion leather boots, and decked out in leather gloves. Their hair was long but styled in a way that made them look like heavy metal corporate wizzos from the far future - say the year 2,000. I wasn't sure if I liked this new level of sophistication or what it meant. Did they look a bit too... womanly? Was this sophisticated glam?

The first track, Walk in the Shadows totally rocked. I Dream in Infra Red had some beautiful acoustic guitar and a powerful chorus with music that built up through the guitar solo and climaxed with the following chorus. And what lyrics! "As you woke this morning and opened up your eyes / Did you notice the tear stains lining your face were mine?" Had he been crying on her face that night?

But it was the fourth track that really left me reeling. Gonna Get Close to You was minimalistic musically with a steady solid drum beat and simple bass line, rapidly scratched high tone guitar and some synthesizer, with some heavy bits thrown in at the appropriate places. It was not metal. It was not techno either though it sounded more like it than it did metal. It was the most unusual thing I had heard on any metal album and I liked it. Somehow this sound made my music collection different from the AC/DC-Motley Crue rockers at school.

The rest of the album includes some other enjoyable and intriguing tunes like London and the acoustic ballad I Will Remember ("An orbit survey finds your mind"); however, it was the futuristic rocker Screaming in Digital, with its voices and sound effects that painted a haunting picture of life in the future where computer minds feel sadly inferior to humans ("Am I the son that you've always been wanting?"). Or perhaps is that that humans discover how similar they are to computers?

Musically, the album is very cohesive. It has excellent metal guitar and riffs, wild solos, Geoff Tate's operatic vocals, acoustic guitar, and some cool drum parts, as well as sound effects. But it was the use of synthesizer and perhaps guitar and bass synthesizer that really challenged me to like this album. I was dead against synthesizer, preferring the classic two- guitar (or one guitar), bass, drums, vocals bands I heard from 1982 to 84. Then Van Halen came out with Jump and 1984 and Def Leppard used synthesizers. Ugh! That's why thrash metal was so successful as a backlash against this new heavy metal with keyboards. But on this Queensryche album, synthesizers were used mostly for atmosphere or effects, and when they were an integral part of the music as a rhythm instrument, it actually sounded good. It worked!

I just listened to this album from start to finish for the first time in probably 15 to 20 years and in the context of a progressive metal album I could really sense that these guys were trying to introduce us to something new. They had a vision of heavy metal some ten years or more into the future and tried to tell us about it in 1986. I don't think any of their other albums captured an atmosphere of something so fresh and new as well as Rage for Order did.

There might be a couple of fillers on here but even the songs I previously passed by have parts that stand out for their musical ingenuity. It's not a perfect album, but I would consider it a landmark album. What others were only just figuring out, Queensryche took and made intelligent and advanced. From me, 5 stars.

Hi there. I will keep this short and simple, for all you Progressive-Metal junkies out there. Queensrÿche's operation Mindcrime is the best concept album I've ever had the pleasure of listening to and your a fool of you don't own this album. Sorry, not to be mean but I just feel that if someone so dearly loves the genre(Prog-Metal) like I do and if you don't have this Masterpiece you are missing out so much. Anyway, I think the only album that can come close to rivaling this conceptual masterpiece is Dream Theater's Metropolis pt2:Scenes of a Memory. Therefore, Kick back grap your best pair of Headphones and just drink in this classic album. It's timeless really. Easily a 5/5

Operation:Mindcrime II is the ninth full-length studio album by the Seattle-based Progressive Metal band Queensrÿche. It was released in 2006 and was a sequel to the band's popular 1988 concept album Operation:Mindcrime.

The lyrics and sound effects on the album tell the story of the protagonist Nikki from the first Operation:Mindcrime album 18 years later, after having being released from prison. They discuss the state of the country now (modernizing `Revolution Calling'), how he fails to adjust to life outside prison, his decision to get revenge and his feelings for the late Sister Mary. It may sound like a cheesy or silly story to an outsider but it is actually remarkably tasteful, intelligent and well done.

It is easy to be cynical about this record. A lot of people feel that it should never have been made and that following up on a beloved classic album is a bad idea. Some things just don't need sequels after all. It is also easy to be cynical about it when considering it was an oasis in the sea of diminishing returns that bucked the trend of reduced sales for the band.

Considering that the album actually was made however, and judging it on its own merits and not just on the idea of its existence, I feel that Operation:Mindcrime II is not only better than the last few Queensrÿche albums which preceded it, but also a damn good album, straight up. Its not as if it is just good for a late-era Queensrÿche album, it is a good album with no caveat.

Musically, the album is very strong indeed. It isn't just a rehashing of the original with new lyrics or an unnecessary re-recording of old songs. There are tasteful nods here and there, such as choral chants reminiscent of `Suite Sister Mary' and similar dialogue/sound effects segments, but so much more as well. The direction of the album is varied, mixing Alternative moments (`The Hostage' `Speed Of Light') Metal moments (`Murderer?' `Sign Says Go' `The Chase' `Fear City Slide') and quiet moments (`Circles' `If I Could Change It All' `All The Promises'). The music is slightly arty and progressive but still relatively instant and accessible. The concept drives it album a lot, but still at least half of the tracks would work well as stand alone tracks.

There are interesting moments here and there where you think, "That would fit on Tribe" "That riff is a little reminiscent of Rage For Order" "That's the fastest song they've written in four whole albums" or "Geoff hasn't used that style since Promised Land." It does a good job overall of taking bits and pieces from the band's entire career and tying them together into a cohesive whole.

Importantly however, It would still be a good album even if it had most of the same music but no link to Mindcrime. It is admittedly especially good when little bits are reminiscent of the original Mindcrime album, such as when Pamela Moore sings as Sister Mary, but these elements are icing on the cake, rather than the only thing it has going for it like you may expect if you were feeling cynical.

The only problems I can find with the album are small niggles. It is slightly overlong and could have done with loosing two or three tracks so as to come across as a tighter affair, the mix could have been a bit sharper and a few more guitar solos wouldn't have hurt.

Excluding those niggles however; I really, really like the album. I think it is the most varied, vital and energetic album they have made in a while, the songs are mostly memorable and entertaining and it just grabs me in a way their earlier work did and Q2K didn't. Its a grower and the more you listen to it, the more you get out of it. Tracks like `The Chase' featuring Ronnie James Dio, the single `I'm American' and the ridiculously catchy rhythmic number `Murderer?' are great and make the album a real worthy addition to your collection.

Overall, as long as you can get over the fact that the album has been made in the first place, as long as you don't mind it containing parts of the styles of other less popular Queensrÿche albums too and not just totally sounding like Mindcrime, and as long as you can give it a fair enough chance to allow it to grow on you properly, then I absolutely and whole-heartedly recommend this album to you. I like it an awful lot.

1984's The Warning is the debut studio album by the Seattle Based Progressive Metal band Queensrÿche. It was recorded in London and produced by James Guthrie who is notable for his work with Judas Priest, Pink Floyd and also Pink Floyd members' solo albums.

Compared to all other Queensrÿche albums, it is the most traditionally Heavy Metal of their works stylistically. It is also arguably the least Progressive of their early albums, although it still shows clear signs of ambitious songwriting and a desire to push the boundaries of the genre. 'Road To Madness' for example is an almost ten-minute track with acoustic sections, electric sections, a symphonic sounding back-up and even a few time signature changes towards the end.

Unless you really don't like the sound of classic Heavy Metal in the vein of Judas Priest, Iron Maiden, Dio and early Overkill then The Warning will be an instantly enjoyable album. The standard of songwriting is excellent and the tracks are all for the most part catchy and memorable with driving riffs, pleasing guitar solos and fantastic vocals from the impressive Geoff Tate.

Highlight include 'En Force' 'N M 156' 'Child Of Fire' and of course the aforementioned 'Roads To Madness.

Overall, The Warning is Queensrÿche's most straightforwardly metal album, and the band excels at delivering that style in a powerful, catchy and intelligent manner. I feel the album is pretty underrated and would happily recommend it to fans from a Metal background. If you like Queensrÿche and aren't only in it for nothing but the Prog and the Prog alone, then you really should give the album a try.

Rage For Order was the second full-length studio album by the Seattle based Progressive Metal band Queensrÿche. It was released 1986 and is quite a curious album that is both hailed by some fans as a masterpiece and condemned by other fans as a forgettable transitional period.

Initially it may take quite a few listens to really familiarize yourself with and grow accustomed to. If you only heard one or two Queensrÿche tracks before buying this it may be pretty confusing, unexpected and hard to absorb at first.

When the album came out a lot of Metal bands were incorporating synths into their sound, and indeed a lot of lighter more pop orientated metal bands were coming out and getting radio success yet this synth filled late eighties metal album doesn't really sound anything like either of the aforementioned styles. Additionally, it also came out just before the real first wave of Prog Metal bands had gained momentum and doesn't share many sonic similarities there either.

The actual music has gotten fairly far away from anything that a conventional Metal band would write at this point, yet isn't glam and isn't stereotypically Prog Metal either, in the sense of long songs with long shredding guitar solos. The album that the band released after this, Operation Mindcrime, actually had songs on it like `Speak' `Spreading The Disease' and `The Needle Lies' that were much closer to the traditional spirit of metal than anything on Rage For Order.

Stylistically, the music on this record is relatively dark, brief and quiet restrained in parts. There are moments of hard metal riffs and blazing guitar solos but they are very few and far between. It incorporates a lot of artificial sounds and synth work but in a completely different way to how the likes of Judas Priest and Iron Maiden did at the time and is more unique in its implementation of the controversial instrument.

Rage For Order delivers its dystopian themed messages of paranoia and societal-breakdown in an atmospheric and for the most part vocal-led way, that almost recalls Marillion and the solo career of Roger Waters in as much as the vocal and lyrical content takes center stage quite often and a lot of import is placed on Geoff Tate's diction and emphasis.

Luckily however, Geoff Tate is a remarkably diverse and talented singer with the skill and range to carry off such an album well. The more you get into the nuances of his performance and the polyrhythmic interplay between him and all the other band members, the more the album opens itself up to you as a listener.

Highlights include `Chemical Youth (We Are The Rebellion)' `Screaming In Digital' and `Surgical Strike.'

In summary, this isn't an album that really fits in neatly into one little box, and in that sense it embodies the true spirit of progressive music. No one had made an album like this before; it was music that literally nothing else sounded like. The evocative, melodic and richly textured music can take a good few listens to really "get," but it sure is worth giving it that chance.

Operation: Mindcrime was the third full-length studio album by the Progressive Metal band Queensrÿche. The multi-platinum album is the band's most famous work, it is considered a must-own and is constantly appearing in magazine and fan countdowns of best-ever-metal-albums. If you haven't heard it already but think it might be up your street, then I advise taking a shot on it, it'll more than likely pay off.

The album, which was released in 1988, mixes classic metal influenced by the likes of Iron Maiden and Judas Priest with the scope and scale of Progressive Rock bands like Genesis, Pink Floyd and Rush. The band use the lyrics to create a narrative that runs throughout the album, assisted by additional sound effects and voice overs from actors.

The story tells the tale of a shady figure named Doctor X who exploits drug addicts into committing crimes that further his political agenda so as to get what he wants without implicating himself, and is told from the perspective of one such helpless youth. The lyrics primarily deal with his conflicting emotions and the consequences of his actions in a surprising and interesting way.

Operation: Mindcrime is an example of the rock opera format done right. The story isn't too basic to be uninteresting but nor is it needlessly convoluted, there are non-musical voice overs and sound effects thrown in to drive the story but they do not take over the album or get in the way of the music and most importantly of all it is a good album anyway; there is no filler, everything flows well together and the album doesn't tail off in quality towards the end.

It could be argued that Operation: Mindcrime is one of the best concept albums anyone has released to date for those reasons, it is tight, concise and free of needless excess.

Overall, Operation: Mindcrime is an entertaining and expertly crafted album that mixes the attitude of prog with the sound of metal in a brilliant and flab-free way. If you usually like concept albums and rock operas then this is an album that you should consider checking out, if you usually like classic heavy metal then you should seriously consider checking it out and if you usually like Queensrÿche themselves then you really ought to own it already and should get yourself a copy as soon as you can.