Alter Bridge
AB III

Do you know when a band reaches maturity? When the collaboration and unity of purpose among the band members are expressed at their highest levels, reminding us of that old formula of synergy, according to which the whole is greater than the mere sum of the parts (okay, I asked the question and answered it myself..).

Well, if you still don't have a clear idea, let me introduce you to AB III, the third effort from Alter Bridge, released today, October 12, 2010.

In this case, Mark Tremonti, Scott Phillips, and Brian Marshall were already well on their way, having played together for a long time with Creed. It's no coincidence that the first album, One Day Remains, was a surprise for many, even though it was written and composed by Tremonti alone. In Blackbird, a closer collaboration with Myles Kennedy was already noticeable. He's a singer with extraordinary vocal skills but, apparently, also possesses remarkable talent on the guitar and in composition.

AB III is the result of this growing rapport, the peak of a parabola that hopefully can grow even higher. For now, let's enjoy what we have.

The album consists of a whopping 14 tracks, and we know from the band themselves that they had to cut several others (some of which we'll find as "bonus tracks" in foreign editions, as often happens), demonstrating once again the diligent work put into composition and recording.

The album opens with the track "Slip to the Void", a novelty compared to the first two albums where the first track always hit with a classic adrenaline rush; here, instead, we listen to Myles' sweet voice accompanied by a hint of guitar, singing gentle notes for just over a minute, before building into a crescendo that brings us what we were looking for: heavy and intricate riffs, a strong and incisive drumbeat, and high notes worthy of a tenor.

Although the first track develops decidedly in a hard rock key, the punch to the stomach comes with the second track, and first single of this album "Isolation". It's true that by now we're familiar with the classic Alter Bridge composition formula, with catchy choruses, riffs alternating with vocal parts, variations or, as they're called, bridges, always very incisive (that almost seem to give the impression that the piece is built around those few seconds of climax) often separated by powerful solos; however, here we notice something different, something new: during the track, we perceive riffs with a strong presence of guitar and drum that seem to clash with the rest, but actually fit perfectly, interrupting the monotony and, if you will, the banality of a classic piece. This is a pursuit of the new that you'll find throughout the album and I really appreciated it. It shows that Tremonti and company believe in their potential and what they do, to the point of producing the album themselves, before finding a label for distribution (and I'm surprised at how hard it is for them to find one... are there still people who don't believe in them?!?).

The album continues with an introspective ballad, "Ghost of days gone by". It's one of those pieces they're known for, capable of making you think with your eyes open, without forgetting to arrange them properly, with a peak reached by the "I don't wanna die" screamed at the top of his lungs by Kennedy, on notes that only he and a few others can reach and ending with a conclusion that stops your heart for a split second.

"All hope is gone" continues along the same vein as the previous track, with variations that, we seem to understand, will surprise us throughout the 65 minutes of the CD. Even here, when you least expect it, you're slapped open-handed while the voice continues on a delicate theme, followed by a solo that rivals Myles' vocal parts in musicality.

But aren't we starting to miss a bit of that good old hard rock that makes us nod our heads to the beat of the drums? Ready, set, go, here's "Still Remains" and its initial riff... aggressive, present, and dominant throughout the entire song; here Mark wants to be heard, and as if that weren't enough, he emphasizes it again in the bridge and the finale.

"Make it right" is a somewhat atypical track. Basically, it's a classic track that appears very melodic; yet, the chorus vocals aren't that musical, and the intermediate riffs seem to clash with the initial intent, not to mention the aggression of various interludes and the finale. It gave me the impression of not being placed in the album's center by chance; it's a track that wants to give more than it seems at first listen. It seems a proper watershed before a more classic ballad like "Wonderful life" dedicated to a friend.

If right now we expect a more incisive track, musically less intricate, we're satisfied with "I know it hurts"; something simple and effective, worthy of being the third single from the album.

In my opinion, however, the quality of this work emerges in tracks like the following "Show me a sign". A song that follows "Make it right", asserting the desire to experiment, to try and successfully find something new. The desire to alternate more classic pieces with novelties is clear, and we can only appreciate the effort (and the success, without a doubt). Anyone who takes up an instrument with the intention of writing something knows well how "simple" it is to let go of a verse and chorus and how much effort originality and atypicality require.

We enjoy "Fallout", gritty and melodic with a great guitar solo. Tracks like the following "Breathe Again" should not be taken as a pause in the album because you won't find one. Even this starts as a ballad and evolves into a crescendo of guitars and vocals with an amazing high note from Myles.

"Coeur d'Alene" is another novelty. The arrangement and sounds are not typical of AB: we rarely hear Scott's drumming continue in a groove without the other instruments, with the track taking a pause right after a powerful initial two-guitar riff. It's a piece that deeply moved me, undoubtedly one of those you feel the need to listen to again to fully understand.

As we near the end, "Life must go on" is the last ballad we encounter. It would make a fitting closing track if it weren't for the brilliance that Tremonti and Kennedy's minds have produced: "Words darker than their wings", the second single from the album. Haven't you noticed, during the previous 13 tracks, the more prominent presence of Mark's voice (as well as Myles' guitars, but that's nothing new)? Well, here you can't help but notice because the two alternate in the verse and sing the chorus together, reserving the right space for each in what they do best: the guitarist's solo and the singer's marvelous high note at the end of the piece. A masterpiece. A track to place next to "Blackbird" and "Broken wings" in the top 3 best songs of the band.

If you've never read about the bassist, Brian Marshall, it's only because he performs his supporting role for the two guitars and rhythm section with the drums so excellently that he gives the impression of not being there. The virtue of essentiality.

I might have gone on for too long, but I guarantee you that AB III deserves this and more. However, if you've never listened to this band, I suggest starting in chronological order, from 2004 to today, to fully appreciate the evolution and growth that once again left me amazed. It's not easy to claim (expressing an entirely subjective judgment) that this is the best album by Alter Bridge because the emotions of "One Day Remains" are not easy to dislodge. Certainly, though, it represents the musical apex (which I can't even place perfectly in a genre, something I personally hate doing) to which most contemporary bands can hardly compare, but above all, a point to which few can hope to reach.

An absolute must-have.