Released in 2013, Fortress may not have broken new ground as Alter Bridge were already on a roll following Blackbird and III, but if it ain’t broke, don’t fix it. After all, AC/DC has been applying the same formula for decades and fans adore it, for a little more refinement is often better than a complete shift in style.
Speaking of style, one of the most compelling aspects of picking up the vinyl record, if you can find a copy, is the artwork and gatefold design. It is elegant with a touch of simplicity that works extraordinarily well when sitting and holding the album; an aspect that is sadly missing from the streaming counterpart.
While the Apple Music stream may lack the tactility of the vinyl record, the lossless 24-bit 44.1 kHz ALAC stream is impressive with a clear separation between all musicians and elemental aspects while maintaining a solid low end; a feat that I’ve often been disappointed with on various streamed albums within this genre. In the past, it was as though, the fullness of sound suffered as a result of the compression applied and thankfully this is no longer the case as streaming services are increasing their quality across the board.
While Ted Jensen did an admirable job on the vinyl record, and it still has greater dynamics, the Apple Music stream has a more rocking feel to it. You know, the kind where you feel compelled to get out your air guitar and rock out with the band. It also, arguably, has greater detail and a clearer vocal presentation than the vinyl record which sounds, by comparison, a little concealed.
One may point to the addition of the vinyl warmth that many of us know and love and while that is naturally lacking from the digital stream, I increasingly find that as soon as music is delivered in 24-bit, rather than the CD-based 16-bit format, that the fullness and warmth transfer to the digital file. Not as much as via the vinyl record, of course, but it tends to sound more realistic and less treble focused.
The bottom line on sound quality is this: If you love vinyl, you’re going to love the vinyl release of Fortress for it hits all the right notes, but if you’re focused on streaming, then rest assured that the Apple Music lossless stream is spectacular.
Cry Of Achilles opens the album beautifully with an acoustic element that I feel works extraordinarily well. Although, it is a little too compressed for the cymbals have that crunchy sound that is detracting from the song; a shame, but given it is present on the vinyl release as well as the streaming alternative, you can almost guarantee that it was created in the studio with either poor microphone placement or a bad mix. Nevertheless, if you can get past that aspect, you’ll likely find something to like about Cry Of Achilles and for me, it is the guitar solo and the final minute of the song which I feel takes on a life of its own.
Addicted To Pain is, where I believe, Fortress really begins. Its rapid and rhythmically fired vocal and musical aspects ensure this lead single would be a stadium pleaser if for no other reason than its killer guitar solo.
Bleed It Dry has a chorus style that I don’t dislike, but I find it challenging to listen to at times. Something about it doesn’t gel with my internal rhythm, but you may love it.
Lover is my favourite song on Fortress. If I were the band, or their record label, I would have most certainly released Lover as a single.
The Uninvited kicks things up a notch, following the more melodic Lover, but despite a promising opening, I find The Uninvited is lacking a cohesive focus.
Peace Is Broken is another song, not unlike lover, that I feel should have received greater attention than it did. A gorgeous song that needs to be turned up to 11 as you rock out with your air guitar. One of Alter Bridge’s finest songs!
Calm The Fire is a dynamically shifting song that can take a few listens before connecting with your soul. Once a connection is made, however, the song can be thoroughly appreciated. Although, I do wish that the soundstage was significantly wider and it would have been nice to have heard Calm The Fire with a mix that focused more on the lead and backing vocal aspects of the song as I feel they get lost in the mix; a problem that results in a wall of sound but not necessarily a memorable song.
Waters Rising switches vocalists with lead and rhythm guitarist, Mark Tremonti, taking the reins while Myles Kennedy delivers strongly on backing vocals. While one may be concerned as to the flow of the album, it need not be an issue because Tremonti does a phenomenal job and while Kennedy could have belted out this tune, I’m glad the microphone was passed because it showcases a different approach and launched my interest in Tremonti’s other band, Tremonti. Plus, it’s one of Alter Bridge’s greatest tunes with some killer guitar work.
Farther Than The Sun is rather mundane until that mid-shift guitar solo enters the mix. I hope you’ve got your air guitar with you!
Cry A River has a solid lyrical hook, with a heavy-hitting musical accompaniment, but Cry A River was never going to be a stadium filler. A solid B-side, yes, but far from a defining song.
All Ends Well is a gorgeous vocal-focused ballad with a country style and a killer chorus. What’s not to like?
Fortress as the title track, and album closer, is utterly spectacular. As with all closing songs, you should be left wanting more and Fortress certainly achieves this goal ensuring that I’ll spin the album again and stay within Alter Bridge’s catalogue for the rest of the day.
Fortress was amongst the best hard rock albums of 2013, joining the ranks of Avenged Sevenfold’s Hail To The King, AFI’s Burials, and Rob Zombie’s Venomous Rat Regeneration Vendor, but despite being a stellar release, and valued addition to Alter Bridge’s catalogue, Fortress simply isn’t as strong, or cohesive, as III is from my perspective.
