Alter Bridge
Blackbird

THE REVIEW

It was 2004 when former members of Creed, Mark Tremonti, Brian Marshall, and Scott Phillips, orphaned by Scott Stapp, decided to start a new project, driven by a new vital force and a desire to distance themselves from market laws. They lacked a frontman of certain value, capable of interpreting Tremonti's ideas and his intent to rediscover more classical rock sounds, moving away from the usual post-grunge. Said and done, the three identify a talent more unique than rare capable of completing the lineup. This is Myles Kennedy, former singer of the Mayfield Four, a versatile and charismatic tenor capable of singing across three octaves. Thus, Alter Bridge is born. The debut comes with the excellent One Day Remains, and three years later, they return to the scene with Blackbird, a new work produced at their own expense after leaving Wind-Up and signing with Universal Records. It is said that the second album is always the most challenging, but this rule doesn't seem to apply to Alter Bridge, who present an album even better than the previous one, more mature and technically sound. A hard rock album, powerful, gritty, with excellent arrangements, at times moving. Tremonti's compositional aggression becomes one with the emotional dark artistic vein of Kennedy, who, unlike the previous work, participated in the writing of the album's lyrics. Every single track flows beautifully, embedding itself in a perfect work that never falls in tone, free of smudges, sumptuous, with metal tones, where, however, they do not abandon those exciting melodies that made Creed great.

The album opens with "Ties That Bind", a track introduced by a fast and rhythmic riff followed by an insistent guitar-drum crossover in an adrenaline-fueled metal rhythm. Kennedy immediately shows his mettle by launching into a breath-taking high note while the closing features a splendid solo by Tremonti. The listener is catapulted into a metallic atmosphere that also characterizes the following "Come To Life", marked by a robust initial riff followed by a verse sung on very high notes by Kennedy. In the chorus, Tremonti's voice, noticeable again for a memorable solo, overlaps splendidly with Kennedy's, who is instead the protagonist of a chilling final high note. Phillips' roaring drum closes a very tight and exciting piece. The best is yet to come, though, because what follows, the atmosphere becomes more measured, slow, and melancholic. A blues arpeggio introduces "Brand New Star", a piece of stratospheric beauty masterfully interpreted by Kennedy. An explosion of emotions captures the listener, especially when, after two minutes and forty seconds, a splendid riff paves the way for an amazing solo by Tremonti that showcases all his talent. The work flows smoothly, leading to the incredible "Buried Alive", characterized by Tremonti's performance, who, with his flamboyant guitar tricks, opens and closes a piece of great impact. After the raw and lacerating "Coming Home", where Phillips' work fills the gaps, and Kennedy's powerful voice is highlighted once again, comes the beautiful "Before Tomorrow Comes", with a classic rock sound that seems to take us back in time.
Thus, we reach the excellent first single extracted from the album, "Rise Today", a gritty, raw, immediate song that tackles a highly relevant theme: the hope for a better world. The titanic "Blackbird", lasting eight minutes, represents the centerpiece of the work to which they wanted to give more prominence, despite the album touching various themes. Kennedy wrote it in memory of a friend fighting a severe illness. The frontman's interpretation is exhilarating and communicative; the atmosphere is melancholic, dark, and suffering. In the second part of the track, the scene is entirely Tremonti's, who seems to make his guitar cry, creating a climate of intense drama. Splendid, with a sharp beginning and a soothing and damn engaging chorus, is "One By One". It is followed by "Watch Over You", a very sweet ballad with great emotional impact, wonderfully interpreted by Kennedy, who presents an exciting falsetto. An acoustic guitar characterizes the first part of the track, which then explodes and succeeds in enchanting the listener. With "Break Me Down", they return to a more grunge style, while "White Knuckles" is a fast-paced heavy rock piece, centered around a brilliant riff that makes the atmosphere red-hot. Once again, the skill of a wild Phillips, who showcases excellent drum rolls and tempo changes, is to be emphasized. The album closes with another gem, "Wayward One". Arpeggiated start and melodic chorus, slow rhythm, and powerful guitars. Kennedy expresses his vocal versatility in a melancholic track whose last part is entrusted to Tremonti's vein and his usual virtuosities, a worthy conclusion to an intense and flawless album. Our guys work in full harmony, and Marshall's obscure and precious work should not be forgotten. His five-string bass is decisive in every piece, no wonder Tremonti strongly wanted him in the band. The comparison with Chris Cornell is a must when listening to Myles Kennedy's vocal timbre, whose contribution as a second guitarist, among other things, defines and perfects the work.    

Welcome bands like Alter Bridge, who propose a metal-grunge where the sound of the nineties, which marked a generation, is not denied; however, they have the merit of creating a product that is, at the same time, original, imbued with metal and seventies rock influences, unlike post-grunge bands that are sales champions but often monotonous and repetitive. Blackbird is an album that many will appreciate, from Pearl Jam nostalgics to heavy metal lovers; an album that never gets tired of being listened to and reaches incredible emotional peaks for a band strangely little known outside the national circuit.