We love to reminisce about classics because they automatically bring back memories. “Empire” by Queensrÿche came to us when we were in high school; a very good friend lent us this CD, which belonged to his father, to whom we dedicate this review. From the moment we first listened to this work, it became a must-listen, as its pure Heavy Metal, seasoned with some progressive touches, is very interesting to hear.
“Empire” is one of Queensrÿche’s classics, as they were riding high after the release of their album “Operation: Mindcrime” (1988), surrounded by excellent reviews and resounding massive success. “Empire” sets aside the conceptualism of its predecessor to give rise to a more relaxed, melodic, and accessible album.
If you enjoy Heavy Metal and Progressive Rock, “Empire” is definitely for you.
What can we hear?
Ambition, maturity, and consistency. It is one of the most consistent albums we’ve heard, meaning that each track is perfectly identifiable as belonging to “Empire,” both in musical style and production. In this work, you’ll also hear one of the best-recorded bass guitars, played by Eddie Jackson. It’s very present, impactful, and provides a very stable foundation in all songs. A great decision to give the instrument a high degree of prominence, allowing the brilliance of its strings and processing to be heard perfectly, as we can experience in songs like the opener “Best I Can.”
The progressive aspect is subtle, as it seems the band wanted to slightly distance themselves from the genre to experiment with a style more akin to “Iron Maiden,” loaded with Heavy Metal that undoubtedly reached a broad audience, introducing the band at a more commercial level. Speaking of Progressive Rock, the band implements well-studied and adapted time changes to “not scare away the masses,” for example, the mandatory shifts in the main riff of “The Thin Line.” This caters to the needs of both connoisseurs and more casual listeners.
We find a Geoff Tate with a level of vocal skill and technique that commands respect. He also returns to the keyboards, as he did on the band’s previous album, “Operation: Mindcrime.” This also indicates that he found the space in the songs to do so, given the reduction of technical aspects in the work.
Empire: The balance of Queensrÿche
In ‘Empire,’ we find a very enjoyable balance between the progressive, the heavy, and the melodic, a combination that, from our perspective, only bands with highly skilled musicians can achieve. This is evident in bands like Dream Theater with their album ‘Falling Into Infinity’ (1997) or even Toto with their self-titled debut album (1978). Such bands have an intimate understanding of both music and their fan base, satisfying the needs of both: their own desire to create demanding compositions and the audience’s desire for catchy music.
Despite the album being released in 1990, we highlight that Scott Rockenfield’s drums have a sound reminiscent of the early ’80s, with a massive snare bathed in reverb, as if we were listening to a large acoustic drum kit in a room full of acoustic reflections. This blends well with the bass, as the rhythm section is incredibly consistent and heavy.
The guitars adhere to the band’s proposal and harmonize with each other in the style of Iron Maiden, as heard in songs like the catchy ‘Another Raining Night (Without You),’ where they also blend distortion with clean guitars, enriched with chorus effects, reminiscent of the ’80s.
The ballad that changed Queensrÿche's life
Very much like Kiss with their ballad “Beth,” Queensrÿche set a record with “Silent Lucidity,” a Power Ballad that captivated mainstream audiences. This achievement aligns with one of the primary goals of “Empire,” making it the band’s most well-known song to date, an ironic twist considering ballads aren’t Queensrÿche’s specialty. It also reflects an excellent understanding of the market, once again connecting them more to the ’80s than the ’90s.
“Empire” is one of those classics that is always a pleasure to listen to. It’s undoubtedly an album filled with quality, showcasing moments of brilliance and commercial aspects appealing to a wide audience. Notably, it stands out as a very “bass-centric” album, and we love when producers bring out the beauty of this instrument.
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