The clue is in the name — and it’s very much one of those if you know, you know… you know?
David Ellefson and Jeff Scott Soto are two genuine music lifers, and Unbreakable marks their second collaboration together.
This one, says Dave, is “heavier, more personal,” and honestly, it’s hard to argue with that. From the opening moments, this feels like a record made by musicians with nothing left to prove and everything left to say.
And then there’s Jeff Scott Soto. Anyone who knows his work already knows this, but it bears repeating: he remains one of the great modern rock voices — powerful, expressive, and completely unmistakable.
“Unbreakable” sets the bar immediately. Muscular hard rock with a progressive edge, it recalls the heft of Adrenaline Mob, while long-time Soto watchers might hear shades of Art Of Anarchy. Either way, the solo is pure class.
“SOAB” sees Little Dave properly unleashing the bass — and yes, it stands for exactly what you think it does. This is aggression personified, all teeth and intent.
“Hate You Hate Me” is happy to take on all comers, and Italian guitarist Andy Martongelli absolutely steals the spotlight here, delivering a performance that crackles with fire.
Then comes “Poison Tears,” a magnificent piece of songwriting. Grandiose without being bloated, its harmonies — courtesy of Burning Witches’ Laura Guldemond — are superb, while the spoken-word section from Tim “Ripper” Owens adds real weight and drama.
“Ghosts” gives the band space to stretch out, a chance they take gleefully, before “Shout” follows and somehow makes sounding huge feel almost effortless.
“Vengeance” is probably as heavy as this record gets — there’s a real air of menace here, all coiled muscle and dark intent.
Or at least it is until “Snakes And Bastards” turns up and somehow manages to be even heavier, kicking the door off its hinges and having a good old rail while it’s at it.
“Life rears its ugly head,” sings Soto on “It’s Over When I Say It’s Over,” and the anger bubbling under the surface here feels raw, direct, and very real.
There’s undeniable swagger to “The Day That We Built Rome,” the sound of a band fully aware of just how good this is — and good luck trying to get it out of your head once it’s lodged there.
Closer “Death On Two Legs” adds keys and dials up the prog, thundering along with a touch of 70s pomp that feels both classic and commanding.
This is a record where a lot of things come together. Soto describes it as the sound of two lifetimes colliding — and you don’t need to be seasoned, jaded, or encyclopaedic to hear that this is something special.
This is simply brilliant.
RATING: 9/10
