Extreme - Six
"Highly anticipated" is well worn promotional cliché but in some cases it’s merited.
Extreme, five studio albums down across a three-and-a-half decades career (less an extended hiatus and a smattering of solo album/ band project endeavours from the flexibly voiced Gary Cherone and deft-fingered dexterity of brilliant guitarist Nuno Bettencourt) have, fifteen years on from Saudades De Rock, delivered the quite-a-few-years-in-the-making, appropriately titled and, yes, highly anticipated, Six.
That anticipation comes from the long, no new album lay-off (absence makes the heart rock fonder) and the band’s previous, although that previous primarily relates to Extreme's outstanding, highly impacting and hugely successful second album Pornograffitti (1990).
Follow-up III Sides to Every Story made #10 in the Billboard charts (as did Pornograffitti) but didn’t reach the platinum heights of its predecessor (a critically acclaimed fan favourite, the un-blinkered reality is III Sides is an overly-long and overly diverse concept album that carries some responsibility for the ensuing diminishing (chart) returns.
Waiting For The Punchline didn’t separate itself from the mid-90s rock-metal pack, while 2008’s post-hiatus reunion Saudades De Rock was more about trying to re-establish the band’s identity and finding a place in 21st century rock.
And so to Six, which sees Cherone, Bettencourt, bassist Pat Badger and drummer Kevin Figueiredo (who has been with the band since 2007) mixing a highly contemporary, almost alt-rock sound with classic rock and a couple of lighter acoustic/AOR moments (it wouldn’t be an Extreme album without them).
There are also a couple of hiccups along the way however, including one serious misfire.
'Rise,' on a razor sharp beat and simple but incessant riff, states the case for Extreme shaking off the shadow of Pornograffitti.
The song snaps and snarls its way across four-and-a half minutes of contemporary hard rock, bolstered by an indie-pop influenced chorus and an insanely wicked solo from Nuno Bettencourt that sets a new bar.
(Such was the solo's impact when first heard every rock fan and muso was talking about it, including Youtube personality, musician and music educator Rick Beato).
Extreme, five studio albums down across a three-and-a-half decades career (less an extended hiatus and a smattering of solo album/ band project endeavours from the flexibly voiced Gary Cherone and deft-fingered dexterity of brilliant guitarist Nuno Bettencourt) have, fifteen years on from Saudades De Rock, delivered the quite-a-few-years-in-the-making, appropriately titled and, yes, highly anticipated, Six.
That anticipation comes from the long, no new album lay-off (absence makes the heart rock fonder) and the band’s previous, although that previous primarily relates to Extreme's outstanding, highly impacting and hugely successful second album Pornograffitti (1990).
Follow-up III Sides to Every Story made #10 in the Billboard charts (as did Pornograffitti) but didn’t reach the platinum heights of its predecessor (a critically acclaimed fan favourite, the un-blinkered reality is III Sides is an overly-long and overly diverse concept album that carries some responsibility for the ensuing diminishing (chart) returns.
Waiting For The Punchline didn’t separate itself from the mid-90s rock-metal pack, while 2008’s post-hiatus reunion Saudades De Rock was more about trying to re-establish the band’s identity and finding a place in 21st century rock.
And so to Six, which sees Cherone, Bettencourt, bassist Pat Badger and drummer Kevin Figueiredo (who has been with the band since 2007) mixing a highly contemporary, almost alt-rock sound with classic rock and a couple of lighter acoustic/AOR moments (it wouldn’t be an Extreme album without them).
There are also a couple of hiccups along the way however, including one serious misfire.
'Rise,' on a razor sharp beat and simple but incessant riff, states the case for Extreme shaking off the shadow of Pornograffitti.
The song snaps and snarls its way across four-and-a half minutes of contemporary hard rock, bolstered by an indie-pop influenced chorus and an insanely wicked solo from Nuno Bettencourt that sets a new bar.
(Such was the solo's impact when first heard every rock fan and muso was talking about it, including Youtube personality, musician and music educator Rick Beato).
'#Rebel' is as muscly as the opener but with a rock-metal boogie driving it along; a dark and sinister middle 8 adds further interest. It’s also worth noting the little nod to Eddie Van Halen on a Bettencourt interjected lick.
(The loss of EVH hit Bettencourt hard and there’s a clearly intentional nod or two on Six to his innovative brilliance).
Talking of the late and great EVH, 'Banshee' is closer to classic Extreme (signature riff, quick-fire harmony interjections, a little touch of funk) but in truth comes across more like a song that didn’t quite make the cut for a Van Halen album.
'Other Side of the Rainbow,' with Nuno Bettencourt on 12 string steel acoustic, is the melodic AOR rock moment of the album; as such works as a lovely counterpoint to what has come before.
Keeping to the lighter side of the band is 'Small Town Beautiful,' an acoustic based down-tempo that is all about the harmony created (musically and vocally) by Messrs Cherone & Bettencourt.
'The Mask' is a slice of contemporary alt-rock shuffle 'n' roll that has Nuno Bettencourt sounding like Iggy Pop on the verses (perfect for the vibe of the song) before Gary Cherone kicks in on the edgier chorus ("rip off your mask and show me who you are!").
'Thicker Than Blood' continues with the surprises, being a gritty number that owes much to Industrial Techno Metal (it also delivers Bettencourt’s most stylistic solo of the album).
'Save Me' is straight from the detuned semi-distorted grunge of the 90s and as such would sit comfortably on an Extreme album of that era - but given the diversity of Six it actually works well here.
That musical contrast is highlighted to full effect by following 'Save Me' with 'Hurricane,' a Gary Cherone & Nuno Bettencourt vocal harmonies and acoustic piece with a lyric on melancholic reflection ("Do I accept this as the end? Memories hanging by a thread… you're calling out my name").
'X Out' is the Techno-prog partner to 'Thicker Than Blood' (synths and keys have added to the layers Six has to offer); its darker lyric (losing faith, hope and love to depression) is coupled with brooding rhythmic cadences and interesting vocal progressions.
While 'Hurricane' worked well as the lighter contrast to such darker musical turns, 'Beautiful Girls,' with its faux calypso/ reggae arrangement, most certainly doesn’t (even Nuno Bettencourt’s short Brian May-esque solo can’t save it).
The fact it immediately reminds of Peter Andre’s 'Mysterious Girl' is about as damning as it gets.
The album closes out on 'Here’s to the Losers,' an acoustic backed and slow-build ode to those that at least "took another swing" with a follow-on plea to keep your chin up.
Lyrically it’s a fine sentiment but musically the song never gets out of second gear; it therefore, somewhat ironically, loses the chance to be a strong closer (nor does the faded back in crowd singalong of the chorus at the ‘hidden end’ help matters).
There is no question Six starts far better than it ends ('Here’s to the Losers' is pretty forgettable; 'Beautiful Girls' is pretty much unforgiveable) but there are some absolutely monster songs here and a couple of left turns that seriously impress.
It is, in every way, an album of Extremes.
Ross Muir
FabricationsHQ
(The loss of EVH hit Bettencourt hard and there’s a clearly intentional nod or two on Six to his innovative brilliance).
Talking of the late and great EVH, 'Banshee' is closer to classic Extreme (signature riff, quick-fire harmony interjections, a little touch of funk) but in truth comes across more like a song that didn’t quite make the cut for a Van Halen album.
'Other Side of the Rainbow,' with Nuno Bettencourt on 12 string steel acoustic, is the melodic AOR rock moment of the album; as such works as a lovely counterpoint to what has come before.
Keeping to the lighter side of the band is 'Small Town Beautiful,' an acoustic based down-tempo that is all about the harmony created (musically and vocally) by Messrs Cherone & Bettencourt.
'The Mask' is a slice of contemporary alt-rock shuffle 'n' roll that has Nuno Bettencourt sounding like Iggy Pop on the verses (perfect for the vibe of the song) before Gary Cherone kicks in on the edgier chorus ("rip off your mask and show me who you are!").
'Thicker Than Blood' continues with the surprises, being a gritty number that owes much to Industrial Techno Metal (it also delivers Bettencourt’s most stylistic solo of the album).
'Save Me' is straight from the detuned semi-distorted grunge of the 90s and as such would sit comfortably on an Extreme album of that era - but given the diversity of Six it actually works well here.
That musical contrast is highlighted to full effect by following 'Save Me' with 'Hurricane,' a Gary Cherone & Nuno Bettencourt vocal harmonies and acoustic piece with a lyric on melancholic reflection ("Do I accept this as the end? Memories hanging by a thread… you're calling out my name").
'X Out' is the Techno-prog partner to 'Thicker Than Blood' (synths and keys have added to the layers Six has to offer); its darker lyric (losing faith, hope and love to depression) is coupled with brooding rhythmic cadences and interesting vocal progressions.
While 'Hurricane' worked well as the lighter contrast to such darker musical turns, 'Beautiful Girls,' with its faux calypso/ reggae arrangement, most certainly doesn’t (even Nuno Bettencourt’s short Brian May-esque solo can’t save it).
The fact it immediately reminds of Peter Andre’s 'Mysterious Girl' is about as damning as it gets.
The album closes out on 'Here’s to the Losers,' an acoustic backed and slow-build ode to those that at least "took another swing" with a follow-on plea to keep your chin up.
Lyrically it’s a fine sentiment but musically the song never gets out of second gear; it therefore, somewhat ironically, loses the chance to be a strong closer (nor does the faded back in crowd singalong of the chorus at the ‘hidden end’ help matters).
There is no question Six starts far better than it ends ('Here’s to the Losers' is pretty forgettable; 'Beautiful Girls' is pretty much unforgiveable) but there are some absolutely monster songs here and a couple of left turns that seriously impress.
It is, in every way, an album of Extremes.
Ross Muir
FabricationsHQ