Review by Tymell for Queensrÿche - The Warning (1984)
Queensryche's debut album is certainly an interesting little beast for its time, indicative at times of the later heights the band would ascend to in Operation: Mindcrime, but definitely not at that point yet.
In an era dominated by doom merchants, emerging thrash and rough-n-ready classic metal, The Warning is a surprisingly melodic and even light affair. That's not intended as a critique, just a stylistic choice: if you want something dark or gritty, you're better off with Bathory or Slayer. Queensryche aren't a total departure, they still fit under the general umbrella of metal in the 80s, with soulful crooning that calls Rob Halford's vocals to mind (see "Child of Fire") as well as a melodic parade of sound not entirely removed from Maiden's works.
Still, as an album this does stand out as a band doing their own thing back in the day, and I have to give it props for that. These songs are comfortable shifting gears as they go, ramping up into something epic and dramatic at times, or dipping into something quieter at other moments. It comes at a time when many contemporaries took a more traditional approach to song structure. Queensryche aren't just belting out some solid riffs in standard verse-chorus structure, they're shifting and flowing as they go.
Geoff Tate's vocals are also a real highlight here. He's capable of rising into some impressively glass-shattering notes and wails, but doesn't rely on that as a crutch. Whatever style of delivery is used, it's always powerful and impassioned. Just listen to those soaring lines belted out in "Roads to Madness", leading seamlessly into the guitar eruptions that follow the high points. Headbanging rhythms are accompanied by epic shrieks, even if the song takes a little longer to get going that it needs to.
That said, the album as a whole is something of an acquired taste. For big fans of early progressive metal, this will likely be a vintage treat, as you can hear it laying the groundwork for later refinement. There's a skill and a willingness to experiment, but it's still formative. "No Sanctuary" is a perfect example: it has a pleasant enough melody and feels like it's rising into something, but it kind of just meanders along for 6 minutes. Only in the last 30 seconds does it really feel like it takes off, then it fades out just as it starts to get good. This is a pattern repeated elsewhere, not in the exact same way, but the same issue of good ideas or moments, but not quite pulled together into a truly satisfying whole, at least for me. It's a decent piece of work with plenty of future promise (a "warning" even, if you'll pardon the cheeky pun), but unless you're a real aficionado of the style, it might not come together fully.
Choice cuts: Take Hold of the Flame, Roads of Madness