Creed stuck out a reissue a few months ago, and it struck me that I didn’t really know their stuff, so I put it on, and it ended up being superb—and I said so when I reviewed it.
Mark Tremonti has a habit of doing that because, while I would never claim to be the world’s biggest fan of Alter Bridge, they were excellent when I saw them live.
But if Creed and Alter Bridge were never really on my radar, Tremonti (the solo endeavour of the man it’s named after) has always been the hallmark of something good.
His 19th album in total, “The End Will Show Us How,” sees him backed by Eric Friedman (guitars), Tanner Keegan (bass), and Ryan Bennett (drums), and there is a band feel here. Indeed, there’s something of Alice in Chains in the guitar work on “The Mother, the Earth, and I.”
Somehow, the arena rock—although still there—has a kind of prog feel. The way it explodes its way to the end.
And it’s heavier than you ever think it will be. The intro to “One More Time” is almost thrash, and never mind the good-time stuff; this takes on the apocalypse head-on.
Indeed, “Just Too Much” is sort of this album summed up: big intentions and bigger choruses, but somehow darker than not just the day job but also the solo material before.
Of course, the guitar work is second to none, but you knew that, so it almost goes without saying, but the songwriting is wonderful. Visceral, too. More than Alter Bridge, the out-and-out rock of “Nails,” with its hook of “Blood Is Shed,” or the ballad “It’s Not Over,” have in common that they take you to places that appear to be deep inside.
The title track has a kind of 90s alt-rock feel and thus makes a pleasant contrast with the rest, plus, as it’s in the middle, you imagine it’s designed as a kind of centerpiece; certainly, the solo feels that way alone.
As much as anything else, there’s an impressive energy here; both “Tomorrow We Will Fall” and “I’ll Take My Chances” rocket along like rolling thunder—and the drums on the latter are best described as gargantuan.
Another thing—there are many, in truth—that makes “…How” impressive is that, although it’s a rock album, it is not dated whatsoever. Nothing “classic” about it; rather, like “The Bottom,” it is modern with plenty to say.
To that end, modern prog fans (think Periphery and so on) might be surprised by “Live in Fear” because it nails it.
Many of the 12 songs here have an epic feel (although nothing is too long), and “Now That I’ve Made It” most certainly does.
“I won’t look down,” he sings here, although looking up is not on the agenda much on “All the Wicked Things” either. Initially barren and inhospitable, it cranks up and has the signature tough edge of this collection.
It feels like this was a tough album for tough times, but also that Tremonti has raised the bar here.
Rating 8.5/10
