The aforementioned lead single Rise kicks things off, and the track is a pretty straight forward hard rocker which is perhaps less funky than would be expected - but it packs a strong punch. Bettencourt's opening riff, which drives the verses, is simple but instantly catchy. As much of the band's best-known work was released in the 1990s, Extreme have often had a slight grungy edge to their up-tempo sound - and the riffing here is dry and very much out of that time period. Despite this, though, the band's natural inclination to groove is present, and the song is infectious and memorable. The verses are snappy thanks to the riffy backing, with frontman Gary Cherone sounding as expressive and unique as ever, whilst the chorus is somewhat more typical of the band's sound with an expanded riff backing, big backing vocals, and more of a swinging beat from long-time drummer Kevin Figueiredo. The solo which got everyone talking is impressive, and it gets better each time I hear it. It is an expansive guitar workout, featuring lots of Bettencourt's trademark licks and tricks - but the closing moment which features some muted shredding blows me away every time. Bettencourt is likely one of the greatest living guitarists, and Rise showcases both his simple approach to hooky riffing and his progressive approach to complex guitar solos - all wrapped up in a foot-stomping, anthemic piece with a big chorus and plenty of groove. #Rebel follows, and the song is another relatively straight forward hard rocker, but the riffing here is more expansive - and there is more groove from the off thanks to Bettencourt's bluesier opening riff and the percussive approach which is taken during parts of the verses. Figueiredo's drum beats during the verses are very punchy, and they tend to dominate here - with the guitars and Pat Badger's bass sitting in the background to add to the overall groove. The chorus feels more expansive, with the opening riff returning, and it sees Cherone going for it vocally - with some big cries which fit in around the fast-paced delivery of the lyrics. The song feels punchy and pacy as a result, then, and the overall speed never really lets up - with the big riffing and snappy drum patterns keepings things moving. Banshee closes out the album's opening trilogy of harder rocking singles, and it is the heaviest of the three - with a muscular Bettencourt riff phasing in from the off, with the rest of the track generally feeling pretty weighty thanks to chugging chords and a prominent bass presence from Badger. It also ups the overall level of funk on display. The opening couple of tracks were not as funky as they could have been, but Banshee is packed full of grooves. This is partly down to the bass, but I also feel as if Cherone approaches the song is a more old-school manner which recalls the earlier Extreme albums. His snappy delivery throughout locks into the song's grooves perfectly - and the classic Extreme sound is on show from the off as result. The chorus feels a bit heavier overall, too, with some drawling harmony vocals akin to something Alice in Chains might have come up with if they wanted to write something a bit more upbeat. This is in-keeping with Extreme's wider sound, though, and the snappy hard rocker is one that sticks in the brain thanks to the grooves and this harmonised chorus.
Other Side of the Rainbow is the first song here which changes tone, then, and it is also the first which breaks out the acoustic guitars. There are a few more mellow songs here, but Other Side of the Rainbow still goes for a big, layered sound despite the lack of massive riffs - and the space in the mix really allows Cherone to shine. He has lost none of his vocal power or charisma over the years, and he dominates this upbeat, if mellow, acoustic rocker. The chorus is one that has been stuck in my head since I first heard it last month, and the big jangly acoustic guitars create a warm backing - whilst subtle keyboards and harmony vocals add Queen-like depth. Queen have always been one of Extreme's biggest influences, and the arrangement of a song like this really showcases how Queen's production approach rubbed off on the band - and Bettencourt's excellent guitar solo does include a few Brian May-isms despite its busier overall approach. The solo is the only prominent moment of electric guitar here, too, but it works well - and those who like the band's jauntier side will find plenty to enjoy in this summery acoustic rocker. The acoustic guitar remains in Bettencourt's hand for Small Town Beautiful, which slows the pace overall and introduces the album's first ballad. The opening section of the song features Cherone singing alone against Bettencourt's mix of chords and occasional acoustic melodies, not unlike a certain mega-hit from the band's past, but the arrangement does expand as things move along - with the drums and bass joining in from the first chorus onwards. The piece also features Bettencourt quite prominently as a vocalist, too. He has always been a great harmoniser with Cherone, but he takes a few lead vocal lines here - with the second verse largely sung in duet fashion, before the two join forces for the strong and fairly mournful chorus. The guitar solo is brief, but cutting, and the song does a great job of slowing the pace and whipping up a downbeat mood which Extreme are such masters of creating. The Mask returns to something heavier after a couple of more acoustic-led pieces, and opens with Figueiredo's pulsing drumming and a strong Badger bassline. Bettencourt holds off from joining in for a while, with Cherone singing over this sparse backing in a register which is lower than is typical for him. Even the early part of the first chorus is sung against this bassy sound - but when Bettencourt joins in the song explodes into a funky, groove-based hard rocker. Later verses recall Marilyn Manson's The Beautiful People somewhat thanks to Bettencourt's stop-start riffing, whilst Badger's bass playing still drives everything. Due to this fairly simple arrangement, the song is one that repeats itself quite a lot - but for me it stays the right side of that line. The hooks are catchy, and they are not repeated too often so as to make them loose their shine. It also helps that Bettencourt lays down a swinging riff later on for a bit of a bridge section before launching into another fluid solo - but this vibe does not last for long before main groove returns for another reprise of the snappy chorus.
Thicker Than Blood is another snappy hard rocker, but it feels a bit more modern and industrial overall. Funnily enough, the Manson comparisons remain - largely thanks to a prominent synth riff which often surfaces throughout. It does not a recall a particular song, but the synth sound is very reminiscent of Manson's golden years. It doubles Bettencourt's guitar early on, which contrasts nicely with his heavy riffing, whilst the song overall feels a bit more modern and tougher with some gnarly guitar and bass tones. Bettencourt's guitar solo is strange and tortured, too, and goes more for creating a collage of noises than something more coherent. This suits the song's heavier approach, though, and the big hooks of the punchy chorus help the piece to sound more melodic despite this heavier and somewhat more discordant approach. Extreme have not really sounded like this before, but the overall change is not all that significant - as the grooves and overall vibe still play to the band's core strengths. Save Me returns to the more straight forward hard rock sound which opened the album, with songs like Rise and #Rebel comparisons here. This track is perhaps less hooky than those, with another somewhat grungy chorus that reveals the band's 1990s heyday, but Bettencourt's grinding riff is pleasing from the off - and the overall layering throughout gives the song a surprisingly big sound despite the relatively simple arrangement. The chorus benefits from a strong keyboard backing and harmony vocals which helps it to stand out - whilst effects-heavy wordless vocal hooks are used to add additional melody to the more riff-driven instrumental sections. A busy guitar solo, which has plenty of groove to suit the song's more mid-paced overall vibe, elevates the track further - although it is probably the least interesting of the songs heard so far for me as it generally plays it quite safe. Hurricane is another acoustic piece. It is another ballad and, like Small Town Beautiful, it opens slowly with Bettencourt's acoustic guitar picking. This is how the song remains, though, and like that aforementioned hit the arrangement does not significantly change - although some subtle keyboards do add depth as the song moves along. It is another piece which features Bettencourt vocally, too, and him and Cherone sing the song as a duet. They trade vocal lines throughout - and then often come together to showcase their ability to perfectly harmonise - which helps to create that classic Extreme acoustic sound which made the band so famous for a few years. This side of the band will always be important, and it is great that songs like Hurricane exist to break up the hard rocking of much of the rest of the album. Cherone shines vocally as expected, and the song is a beautiful and relatively brief distraction from the harder rocking which has come before and is still yet to come, too.
X Out gets back to something more rocking, but the song is a little strange overall. Like Thicker Than Blood there are some prominent synths used throughout. Sometimes the synths double Bettencourt's guitar riffing, and other times they essentially take over to create an atmospheric backing for Cherone's smooth vocal delivery. This is interesting, but I am not sure the heavy reliance on synths here works in the band's favour. One of Extreme's biggest selling points is Bettencourt, and his guitar playing feels quite watered down here to allow the synths to dominate. The dynamic arrangement is welcome, and I like how the song moves between more harder rocking sections and quieter moments, but I would have liked the rockier sections to hit harder with Bettencourt's big riffing. The song has a bit of a modern pop vibe overall, then, and for me this does not really suit Extreme's brash, funky sound. Everything feels a weak here as a result, and the song lacks that classic Extreme swagger. It is also the longest song here at just under six minutes. It outstays its welcome, then, and the song is easily my least favourite here. Beautiful Girls is very poppy, and changes the tone immediately. It is the sort of song which I imagine that some people will really hate - but I quite like it. Bettencourt's driving acoustic guitar has a bit of a reggae-esque vibe to it, with a simple percussive backing, whilst Cherone seems to enjoy the upbeat, sparse backing as he delivers a really fun collection of hooks here. The song feels a little throwaway, but at the same time I do not think that it is meant to be taken all that seriously. It is a fun song, with a little Caribbean influence, which is very easy to sing along to. The chorus is one of those that sticks in the brain after a single listen despite its over-sugary overall feel - and Bettencourt still manages to include a busy and shredded solo despite the poppy and acoustic vibes. There are certainly better songs here, but I like the sickly sweet melodies of Beautiful Girls - despite the fact it is likely to upset a few! The album then comes to a close with Here's to the Losers, another more acoustic-based track - but it is a song which feels pretty anthemic overall. The band have clearly tried to somewhat re-create the vibe which Hole Hearted had as Pornograffitti's closing track - and I think Extreme have somewhat managed to re-capture that spirit. The verses are simple, with Cherone singing against Bettencourt's acoustic guitar, whereas the chorus sounds bigger with choral vocals and the rhythm section joining in. Again, there are better songs, but I like the vibe which the song creates - and the warmth and whimsical sing-a-long nature is infectious in my opinion, which is entrenched when the song fades out only for a choir singing the chorus unaccompanied fades in to close out the album. It is an effective way to close the album, despite the likely temptation to end things with a bang. Given the 15 year wait, Six is very much welcome. There is quite a bit of variety despite the band generally sticking to their core sound, and the hooks throughout mean that basically every song is memorable in one way or another. It is great to hear that the long gap between albums has not dulled Bettencourt's riffing or Cherone's caustic delivery - and hard rock fans everywhere will no doubt find plenty to enjoy here.
The album was released on 9th June 2023 via earMusic. Below is the band's promotional video for Rise.
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