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[Album Review] Alter Bridge ‘Fortress’

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Album review written by Lauren Rae

Alter Bridge is one of those bands that, for the most part, still seems to be somewhat of an undiscovered gem. Their fan base has grown exponentially over the years, and they do receive significant airplay. But there are still a lot of people who have not heard of them. And for those who have, well, like with Creed, you either love them or hate them. Funny how three of the four core members of that band seem to keep winding up in bands drawing those sorts of sentiments.

I happen to fall in the ‘love them’ category. I’ll openly admit I’m a huge Mark Tremonti fangirl and used to be a huge Creed fan, which (like with many of their admirers) is how I was introduced to them in 2005. One big factor with Alter Bridge is constant growth. Each album seems to be bigger than the last. And Fortress is no exception. In fact, it may set the precedent for future AB releases; it’s just that huge.

Right away, the album launches full force and doesn’t let go; you’re in for a full ride. “Cry of Achilles” is possibly one of the best album openers I’ve heard in a long time; the kind gives you goose bumps within the first minute. If I had to compare it to anything, I’d say it’s on par with Stone Sour’s “Gone Sovereign”. I can easily see “Bleed It Dry” (with its metal leanings) and “Lover” (the albums token broken ballad) becoming radio singles, especially the latter. 

“Waters Rising” stood out to me over all the other tracks – as it should everyone else – as singer Myles Kennedy was the backing singer this time and Mark Tremonti took over on lead vocals. And it’s an interesting contrast, his baritone coming first to the tenor of Myles’s voice, to which we all know can be very dominant in its four octave range. Personally, I’d like to see that happen more on the next album, whenever that may be.

I’ve listened to this album at least a dozen times already, trying to pick out a bad spot in the album. I feel as though I can’t give a good review unless I’m pointing out the good and the bad, even if it’s not in equal measure. And I literally cannot find a single thing wrong with Fortress. If you’ve never heard of or listened to Alter Bridge, I’d suggest you start now and with this one.

Managing editor/music guy/social media fella of Bloody-Disgusting

Music

“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

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John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

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