Those still expecting a shiny progressive metal album at this point will have their expectations shattered as soon as the opening number Dogmata kicks in. In many ways, the first song here is a real extension of the album as a whole - and it is a track that really clues the listener in on the sound that La Torre and Blackwell were going for here. The opening riff has a post-Pantera groove/thrash stuttering rhythm, but with a pace that helps a bit of an old-school 1980s metal vibe to be present too. The verses continue in this mould, with La Torre's driving drum beat keeping everything moving - while his vocal performance will sound familiar to Queensrÿche fans. In some ways however, despite the heavier riffing, this verse is lulling the listener into a false sense of security. This is because the chorus showcases a big diversion from La Torre's familiar tropes, with harsh backing vocals and a Lamb of God-esque groove-based riff that slows everything down to a bit of a crawl. There is still a lot of melody to be found however, and the song is as catchy as it is heavy. Pretenders is similar, but with a bit more of a traditional metal sound - with Painkiller-era Judas Priest certainly being channelled here. Subtle synths give the song a cold, industrial depth, while Blackwell's simple riff instantly sticks in the brain - and it is the perfect backing for La Torre's strident, arena-ready vocal performance. Some of the vocal lines here remind me of his work with Queensrÿche, but some also really channel the Halford sound of the 1990s. His sustained high-pitched verse vocals really bring the best out of the backing riff, and the more straight forward anthemic choruses benefit from their fist-pumping grooves and Accept-esque gang vocals. If La Torre ever gets the chance to play these songs live, Pretenders is one that is certain to go down well with a crowd. It is very easy to latch on to, and the grooves throughout are certain to get any metal festival crowd moving. Hellbound and Down has a bit of a different sound, with a harmony guitar riff that recalls In Flames and Arch Enemy a little. Despite these melodic death metal moments that repeat throughout the song, there is also quite a lot of La Torre's songwriting with Queensrÿche to be found here. If any of these songs could have been played with La Torre's main band, then Hellbound and Down is one. The chorus certainly sounds like some of the recent Queensrÿche choruses, with some great 1980s-esque high-pitched vocals, but the heavier grooves found elsewhere (as well as Warrel Dane-esque bridge section) help to set the song apart from the Queensrÿche canon. I appreciate the crossover of worlds featured in the song however, and for that reason the track is another favourite.
Darkened Majesty, the first of the songs here that was released online prior to the album's release, again has a lot of Halford worship to be found throughout - but this time it is the post-Pantera sound of Fight that is being channelled. La Torre's high-pitched verse vocals are some of the most potent that he has ever recorded, and the contrast between them and the murky chorus crooning makes for a winning combination. The chorus here reminds me of something like Selfish Lives from the Queensrÿche catalogue, as it has that Seattle-esque sound that Queensrÿche do so well, and I really like how the darkness and atmosphere of this chorus really turns the otherwise furious metal track on its head. In many ways, this song was a wise first track to release, as there is something familiar about parts of the song for Queensrÿche fans - while also introducing the core sound of the album as a whole. Crossroads to Insanity builds on the murk of Darkened Majesty, and shows that Rejoice in the Suffering is not purely a relentless metal album. There is still some light and shade to be found here, despite many of the songs being built around relentless riffing, but Crossroads to Insanity is one of the tracks that sticks out from the 'norm' the most. The focus here is on murky, grungy guitar melodies and an aching vocal performance that is packed full of tortured emotion. I have loved La Torre's voice since first hearing him with Queensrÿche, but hearing this album has given me a much greater appreciation of his vocal talents. Crossroads to Insanity contains one of his most emotionally-charged vocal performances yet, and it really informs everything about the song - with Blackwell's excellent guitar solo building on the vocal melodies and only adding to the song's emotional weight. Critical Cynic appears to get back to the album's core sound however with a choppy, Nevermore-esque opening riff - but the song soon descends into chaos, with a hollow sound based around some busy drumming and distant guitars. The song sounds like nothing else on the album, and ironically it takes the experimentation that Queensrÿche were doing on Rage for Order back in 1986 and transposes it to the modern day. There are lots of synths and effects here to give the song a strange overall sound, but everything pulls together nicely. There is certainly more of a progressive feel here, but the classic La Torre melodies are still present throughout - particularly during the groove-based choruses. The album's title track is a true return to the album's core sound however, with the song being a hard-hitting mid-paced groove-based track that has some great Blackwell riffing throughout - and guest guitar solo from Jordan Ziff (Age of Evil; Ratt). On my first listen to the album, this song was the one stood out the most from the off. It is easily one of the catchiest songs here, with a chorus that is instantly-memorable and some melodies throughout that hit hard. It is a song that was clearly written to be played live, and I hope that La Torre gets the chance to showcase it so one day. It is the sort of song that metalheads of numerous persuasions will be able to get behind, its strident chorus one that will draw everyone together.
Vexed sounds like another song that could have fit on one of Queensrÿche recent albums thanks to its old-school, warmer sound. While I like the fact that much of this album is heavy and in-your-face, it is good that a few moments here still have that Queensrÿche feel. It helps link La Torre's solo work to his day job - while also then possibly introducing Queensrÿche fans to new sounds and styles. I wonder if this song was possibly written with Queensrÿche in mind, and then ultimately not used by the band. Either way however, the song is another winner on an album that is full of them. The snaking guitar riffing throughout has a very melodic feel to it, with the guitar tones used having a bit more of a 1980s sound than those used throughout the album as a whole. There is a lot to like here, and those wishing to dip their toe into La Torre's solo work may wish to sample this track before some of the weightier pieces here. It is certainly more of an accessible track for Queensrÿche fans than something like Vanguards of the Dawn Wall - which is furious, heavy, and pummelling. It is one of my favourite tracks here however, and I love hearing La Torre going full tilt throughout. It is a track that never lets up, and there is certainly something of Overkill's recent run of albums to be found here - particularly during the thrashy verses. The choruses are more groove-based however, with infectious melodies that will instantly stick in the brain - as well as some great harsh backing vocals that up the heaviness even further. The song was chosen as a single, and I can see why as it perfectly sums up the overall vibe that La Torre and Blackwell were going for throughout the album. It does not pull any punches, and that is why it is one of my favourite cuts here. The album comes to a close with Apology, a somewhat lengthy piece that has a similar murk to Crossroads to Insanity - but fused with the heaviness of the bulk of the album. It is probably the most dynamic and varied piece here, which makes it a perfect album closer - with slow, sledgehammer doom riffs sitting side-by-side with a ballad-esque gloom to create a cacophony of sounds that really draws everything the album has been trying to achieve together. While much of the album is fast and furious, this is a song that takes things more slowly. There is a real deliberateness to everything heard here, but that only makes the song more powerful - and there are still moments here that are crushingly heavy, just in a different way to the norm. It is such a fitting way to close out the album, the snake consuming its tail of the album's cover somewhat personified, and a great way to round out one of the best releases of 2021 so far. Rejoice in the Suffering is likely to end up as one of the best metal albums of the year, and I have a feeling it will end up in my Albums of the Year list come December. It is the sort of album that I can put on at any time and enjoy it, despite the heaviness, and I will certainly be doing so a lot over the coming months.
The album was released on 12th February 2021 via Rat Pak Records. Below is La Torre's promotional video for Vanguards of the Dawn Wall.
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