Alter Bridge's 'Walk the Sky' - Album Review

Florida's Alter Bridge clearly never got the memo that rock is dead. That is, of course, a nonsense statement - usually uttered by those who have no interest in the genre - but if there is a band that is truly defying that notion then Alter Bridge are it. Especially here in Europe, Alter Bridge are a big deal - with the band regularly selling out arenas across the continent. They are one of the most popular modern hard rock acts here in the UK with Alter Bridge's tours, and new albums, always a cause for excitement in the rock world. It amazes me that the band are not as popular in their home country, but I suppose the band have always been a bit too diverse for the American radio rock market. The band are still successful in the USA, but not on the level that they are over here. American radio rock is a strange beast, as a look at any of their festival line-ups will tell you - and while Alter Bridge may have flirted with that sound on both 2004's One Day Remains and 2007's Blackbird, it is fair to say that since those early days in their history the band have massively expanded their sound. One Day Remains and Blackbird are almost extremely refined and top-drawer examples of American radio rock, but since 2010's monstrous AB III (which is still my favourite Alter Bridge album) the band have really upped the heaviness and technicality. The band have always included metal and progressive influences in their sound, but it was AB III that showcased this in a big way - before they truly ran away with those ideas on 2013's Fortress (which I reviewed here), a progressive beast of an album that continues to grow on me. Fortress is easily the band's most diverse album - with delicate ballads sitting side-by-side with Tool-esque grooves. The diversity means it is one of those albums you really need to be in the mood for, but when the moment is right it really hits the spot! It is also probably the band's creative peak to date. 2016's The Last Hero (which I reviewed here) saw the band attempt to streamline all of these influences into a more melodic and accessible package - but I am not sure they quite pulled it off. The Last Hero is not an album I have returned to very often since the months surrounding its release, with a ear-tiring production quality and a bloated run-time making it probably my least-favourite Alter Bridge effort. I had high hopes therefore for Walk the Sky - the band's sixth album that was released last month. I hoped that the band would right the wrongs (such as they are) of The Last Hero and, for the most part, Alter Bridge has succeeded. Walk the Sky is the album that The Last Hero should have been, with the heavy and progressive influences meshing perfectly with arena rock grandeur to make an album that is both memorable and technically impressive. The production is better this time around too, although it does still feel a tad 'loud' which is frustrating. My stereo system has a volume control, so there is no need to produce albums in this manner! Others are far more sensitive to these kinds of issues than I am, but it is something that deserves to be called out when it is present. Luckily however, Walk the Sky does not suffer too greatly from the 'loudness war' and does not spoil my enjoyment of the songs contained within.

The fourteen-track album kicks off in a murky, low-key fashion with the short One Life - a tone-setting piece with dense synths, discordant guitar melodies, and frontman Myles Kennedy's haunting, distant vocals. Alter Bridge albums usually start with a bang, but Walk the Sky opens with a whisper and for me it is an extremely effective choice. It also acts as a great contrast against lead single Wouldn't You Rather, which soon comes crashing in with a meaty Mark Tremonti guitar riff and a juddering Scott Phillips drum pattern that recalls some of the heaviest moments of Fortress. There are quite a few heavy moments to be found throughout this album, but Wouldn't You Rather is a perfect mix of heaviness and melody - which makes it a perfect lead-off track. Alter Bridge have always been a band to mix stadium-worthy rock elements into their plethora of other sounds - and this track is no different. Kennedy's voice soars throughout the track, and explodes into a anthemic chorus part way through after a somewhat proggy pre-chorus that sees orchestrations and a brash guitar tone dominate. It is a song that contains a bit of everything, with many of the ideas here being expanded on elsewhere in the album. In the Deep opens in a similar fashion to the previous song's pre-chorus; showing that the band seem to continually want to build on sounds previously established and create a cohesive, flowing album; but soon launches into a fast-paced riff that ups the pace and whips up a strong energy. In many ways this song feels like a bit of throwback to the band's early days. The verses are quite stripped back, with Phillips keeping time with a simple beat and Tremonti laying down a simple arpeggiated guitar pattern before everything ramps up towards a radio-friendly chorus. Alter Bridge are generally heavier than this these days, so the look back to their past is a welcome one. It is a relatively simple song in the context of the rest of the album - and allows Kennedy a chance to really shine vocally as the song is really built around his melodies. Godspeed is different again, and opens with some strange keyboards that help to create a strong atmosphere before the weighty guitars join the fray. Keyboards have always been used by the band, but their presence seems to be much greater throughout this album - which helps it to stand out in their discography. Tracks like this really benefit from the synth backing, and it is great to see the band are continuously willing to try new sounds. The song is a bit of a murky half-ballad, building on the album's short opening track, but packs another soaring chorus that really showcases Kennedy at his best, with Tremonti adding his distinct backing vocals for a rich, deep sound. A short guitar solo adds itself to the fray, but in truth this a song more about atmosphere than showboating. Native Son really ups the heaviness again, with both Kennedy and Tremonti laying into their guitars for some groove-based riffing and Phillips' drums crashing in with a satisfying punch. Alter Bridge do heavy well, and their riffing throughout this track put some metal bands to shame. Despite the more overtly-metal focus, they have not neglected to include strong melodies throughout, with the occasional burst of soaring lead guitar and another excellent chorus that sees Kennedy pushing his voice to new heights and a wordless vocal section that is sure to go down well live. An extra grandeur is given to the piece by some prominent string arrangements - which builds on the work the band did with an orchestra at the Royal Albert Hall in 2017.

Take the Crown is another single, so unsurprisingly is centred around big melodies - but that does not stop the heaviness from also appearing with a massive, juddering riff kicking everything off. This track actually reminds me a lot of the sound the band forged on AB III, which is the album that really started their flirtation with full-on metal arrangements. It is known that Kennedy is a big fan of the French metal band Gojira, and some of the riffing here certainly echoes that band's distinct sound, while Tremonti adds plenty of his trademark melodies and style throughout. As great as the band are however, this is a song that belongs to Kennedy. It is his voice that drives everything, with melodies that instantly stick with the listener and never let go. The song contains easily the album's most anthemic chorus, with catchy vocal lines that showcase why Kennedy is held in such high regard as a modern rock vocalist. It is one of the album's highlights for me, and a single to rival some of the band's previous best. Indoctrination is more of a groove-orientated piece with a slow-paced, walking guitar pattern opening things up while Kennedy gently croons atop it. It is a very different sounding song for the band, with a creepy, almost doomy, vibe throughout that is enhanced by the deliberate riffing and Brian Marshall's booming bass. The verses are packed with this attitude, with occasional bursts of cold synths to add to the strange feeling, before the song explodes into a chorus more typical of the band's usual style with Kennedy reaching for the stars vocally despite the still-lumbering pace. It is a bit of an odd song overall, but it really comes together well and the band have managed to nail the vibe perfectly. The Bitter End, after a couple of heavier songs, does pair things back slightly and is another bit of a throwback to the band's early sound. It opens up with some lovely clean guitar melodies, but does soon ramp up into more of a riff-based piece with some more tasty Tremonti guitar playing. Despite these riffs, the piece still feels more laid back in comparison to the previous few songs which put metal ahead of anything else. The metal vibes are largely absent here, with more of an epic rock sound in place instead, with a powerful, slower chorus with more excellent Kennedy vocals and prominent orchestrations throughout. The heaviness returns for Pay No Mind however, as do the prominent keyboards. It is a track built around a chunky guitar riff, but the keyboard melody that accompanies it really helps the song sound different from the norm. It is still clearly an Alter Bridge song, but the use of keyboards here shows the band's continual musical evolution. It was another track released online prior to the album's release, so unsurprisingly it is built around another strong chorus - with a catchy, pacy effort here that is sure to go down well live. Forever Falling features a rare lead vocal from Tremonti, only his third on an Alter Bridge album - but fans of his solo work will by now be more than familiar with his voice. It is another very diverse piece, that opens slowly before exploding into one of the album's most abrasive riffs. It is a track that jumps between heavy and soft with ease, with dancing synths utilised throughout to create a dense but uplifting mood - while Tremonti's deep, rich voice creates a vibe that Kennedy could not. The band's main singer joins in for the upbeat choruses however - with the two vocalists harmonising together well. It is another different-sounding piece, and as a result is another highlight.

Clear Horizon opens up as a relatively laid back piece, with a low-key guitar and vocal intro that recalls Kennedy's Year of the Tiger solo album from last year - but this mood is short lived as another big riff soon kicks in to shake up the relative calm. On The Last Hero there were a few songs that played a lot with discordant riffing and guitar patters, and that sound is experimented with again here. It works much better here than on the last album however, with the better overall production helping the strangeness to come through and the songwriting of the track on the whole being stronger. There are also moments that recall the band's early days, with a chorus that could have sat nicely on AB III and a few moments that even give a nod to the band's debut. It is a great mix of Alter Bridge new and old, and another strong track on an album filled with strong moments. Walking on the Sky is a bit of lumbering song, but that is not meant as a criticism as the slowness actually works in its favour. Marshall, who is often buried in the mix throughout the album, gets some time to shine were some prominent bass playing during the verses; and the overall fatness of the production helps the song to sound massive. With no real ballads to be found on the album, the album relies on other changes in pace to stop it becoming stale. The relative slowness of this song helps that variation, and the grooves created throughout are different from many of the fast-paced riffs found on the album. A shredded guitar solo closes the piece out, and with relatively few solos found throughout the album it is a welcome flurry of notes. Tear Us Apart is another somewhat slower piece, and probably the closest the album comes to having a ballad. Alter Bridge usually include a couple of ballads per album, but on Walk the Sky they have focused on their heavier side - which is great to see. Tear Us Apart helps to provide a change of pace however, and is different from the previous slower number by having more of an organic sound throughout that sounds something like the band's first two albums. The sound of the song allows Kennedy to sing a more emotional way, which fits in with the overall warmth created throughout. The chorus is very old-school Alter Bridge, with a bit of an earnest message and a dancing guitar lead that sits just beneath the vocals for added effect. The album comes to a close with the epic Dying Light, a song that seems to bring all of the album's ideas together into a cohesive whole - with prominent synths throughout and a dynamic sound that mixes soft and heavy together nicely. The verses are quite laid back, with Kennedy's vocals really dominating as dancing guitar patterns and subtle basslines create a floating backing, before the song ramps up towards a powerful chorus with heavy riffing. It showcases the band's more progressive side nicely, while still retaining the more concise nature of the album. The band have done more progressive pieces in the past, but this one mixes that vibe with stadium-friendly aesthetics and proves to be a strong closing number. I imagine the song will be a live favourite for a long time, and with a couple of shredded guitar solos included too it will be an impressive piece to witness the band perform on stage. Overall, Walk the Sky is a strong album from Alter Bridge that certainly sees the band firing on all cylinders again after the somewhat weak The Last Hero. The band seemed to finally manage to lock all of their influences together into a cohesive whole this time around, and it is telling that there are no true weak songs here. A few experimental moments help to keep things fresh too, and it is an album that I will be listening to a fair bit going forward.

The album was released on 18th October 2019 via Napalm Records. Below is the band's promotional video for Wouldn't You Rather.