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Articles Home » Music Reviews » Sweet Oblivion ft. Geoff Tate 'Relentless' Album Review By JD Rich
Sweet Oblivion ft. Geoff Tate 'Relentless' Album Review By JD Rich

Sweet Oblivion ft. Geoff Tate

Relentless

Frontiers Music s.r.l.

April 9, 2021

Album Review By JD Rich

Boston Rock Radio

 

 

 

We are on the precipice of International Guitar Month, and boy do I have the perfect album to get you revved up! With that said, let us all drift off into Sweet Oblivion, the latest project featuring former Queensryche singer Geoff Tate. Yes, it’s almost time to get relentless.

There’s no mistaking Tate’s rich vocals. We are well aware of his previous accomplishments, so there’s no need for puny me to rehash what is already common knowledge. Besides, this isn’t The Geoff Tate Show. There’s a full lineup of extremely adept musicians providing the vehicle that enables Tate to shine brightly once again. A lot of credit goes to guitarist Aldo Lonobile who also contributed as co-songwriter to Tate, as well as producer. What's even more impressive is that Lonobile wrote a song in Italian at Tate’s request (Track 8, “Aria”)...and he pulled it off flawlessly!​

If there was a Hard Rock Opera category, this one would claim a sweeping victory across the board. I’ve heard Metal/Hard Rock songs in Spanish, Portuguese, German, and French, but those were by vocalists who were native speakers of those respective languages. Maybe Wanda was on to something regarding her fetish for the Italian language. The math equation I just made up is an indisputable fact: Tate’s vocals + Italian= instant panty-dropper. (I’m talking to the ladies on that one, but hey, if it works on guys that way, who am I to judge?) Anyhoo, back to Sweet Oblivion (sorry, I distracted myself)... 

Hard Rock isn't sufficient when describing Relentless, nor is Heavy Metal. Those labels are just too limiting. Sure, they are the overall components, but I also detected some Prog Rock with a touch of 80’s Retro Rock (duh) and a glimmer of Goth Rock (minus the depressing redundancy). The Goth vibe comes primarily from keyboardist Antonio Agate who adds dimension without sending Relentless back into the days of cheesy 70s Pop. He tempers his keys in tandem with the heavier sounds of Sweet Oblivion, injecting a touch of cosmopolitanism among regal riffs and driving beats. Speaking of which, Michele Sanna keeps percussion simple and strong. Drums are slightly brought forward from the background, very crisp yet not distractingly dominating. I think of it as secure footing while Lonobile’s guitar riffs swirl all around, sometimes dizzyingly so. Bass player Luigi Anderone lays down a thick, deep foundation that lends a steady layer of audio support. In sum, all musicians in Sweet Oblivion are power players, and they have to be.​  Keeping up with the sheer intensity of Tate’s vocals is no job for a newbie or a lightweight.

As far as I can tell, there is nothing reckless about the entire process of Relentless from conception to songwriting, performing, and production quality. The amount of finesse, determination, and plan of attack seems like it was constructed on a microscopic level, with laser-focused intent matched by equally honed skills. We’ll be able to get Relentless starting April 9th, what a great way to celebrate International Guitar Month!

 

 

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