Queensrÿche
Operation: Mindcrime

THE REVIEW

In 1988, Queensryche wrote a record that probably changed the history of heavy metal!

"Operation: Mindcrime" indeed seems to take metal towards a rather unusual theatricality for the genre, so much so that many even consider it the first seed of what will later be defined as progressive metal. Right or wrong? Well, let's say there are some considerations to make! The album is a concept, and its structure is significantly affected by it! An almost operatic homogeneity, a certain connecting thread wisely and intelligently ties the songs together! And then rather unusual solutions for the metal genre are used: interludes with a particular sound, often serving as a bridge or linking one episode to another, keyboard parts that create symphonic breaks that can surprise the more traditionalist listener... But the basic sounds of the record are still in full ‘80s heavy metal style. Talking about prog-metal seems excessive to me; we could never say "progressive metal exists" until 1992 when Dream Theater achieved great success with "Images And Words," but there is no doubt that something is moving and some progressive elements here and there exist.

The vocal intro "I Remember Now" perfectly introduces us to the atmosphere of the concept, followed by another interlude named "Anarchy-X" where a light background of keyboards accompanies the guitar work very well, introducing us nicely into the heart of the piece... then four powerful, direct, and immediate tracks in clear classic heavy metal style, with guitar riffs and solos in the foreground alongside the powerful and determined voice of the superb Geoff Tate, who certainly deserves an important place among the voices of heavy metal! The first two, "Revolution Calling" and "Operation: Mindcrime," are milder and very lively, with a style closer to hard rock; the other two, "Speak" and "Spreading The Disease," are more rhythmic and faster, in classic Iron Maiden style. The more progressive side definitely emerges in the next two tracks. First "The Mission," with delicate guitar arpeggios serving as an antechamber and interlude alternating with more driven riffs accompanied by keyboards. And the next one, "Suite Sister Mary," is a masterpiece in itself: epic choirs alternate with very classically styled keyboard parts, very delicate guitar arpeggios, and heavier parts creating a mini-suite that will have no follow-up in the band's discography. Then another frenetic fast track, "The Needle Lies," and the dark interlude "Electric Requiem." And then another two tracks in perfect hard & heavy style, "Breaking The Silence" and "I Don’t Believe In Love." Two more interludes lead us to the grand finale. First "Waiting For 22," with a beautiful guitar arpeggio overlaid with a solo, then "My Empty Room," with a delicate arpeggio overshadowed by the ticking of a clock creating a decidedly unsettling atmosphere. And then the grand finale with "Eyes Of A Stranger," opened by an intro of always very symphonic-like keyboards, giving then way to the liveliness of the guitars and Geoff’s voice.

What remains from the listening experience is the impression of really having listened to a milestone! Metal is taking itself to new shores and has found new ways to say something. A record that is certainly direct and capable of striking on first impact, yet absolutely unique in its style and able to deliver surprises. Don't overthink how to define it; I’d say that the word goes solely to the music because only with music can adjectives be expressed, not with words!