Marching In Time

[SHEAKENBAKEN]

Tracklist Ranking (Least Favorite To Favorite)
If Not For You
A World Away
Now And Forever
Bleak
In One Piece
Under The Sun
The Last One of Us
Not Afraid To Lose
Thrown Further
Would You Kill
Let That Be Us
Marching In Time

Solo Rankings (Least Favorite To Favorite)
A World Away
If Not For You
Thrown Further (Erock)
Now And Forever
Would You Kill (Erock)
Bleak
Would You Kill (Mark)
In One Piece
Thrown Further (Mark)
The Last One of Us
Let That Be Us
Marching In Time

Favorite Sections
1. A World Away: 0:00-0:45
2. Now And Forever: 2:26-2:47
3. If Not For You: 2:00-2:24
4. Thrown Further: 3:55-4:47
5. Let That Be Us: 3:48-4:28
6. The Last One Of Us: 3:43-4:41
7. In One Piece: 0:00-0:25
8. Under The Sun: 0:00-0:18
9. Not Afraid To Lose: 4:35-4:48
10. Bleak: 3:50-4:37
11. Would You Kill: 1:52-3:04
12. Marching In Time: 5:38-7:34

Least Favorite to Favorite Vocal Performances
If Not For You
Now And Forever
A World Away
In One Piece
Thrown Further
Under The Sun
Bleak
Let That Be Us
The Last One Of Us
Would You Kill
Not Afraid To Lose
Marching In Time

Favorite Lyrics Per Song (pretty much all the choruses on this record lol)
A World Away: Chorus
Now And Forever: Chorus
If Not For You: First Verse
Thrown Further: First Verse
Let That Be Us: Chorus
The Last One Of Us: Chorus
In One Piece: Chorus
Under The Sun: Chorus
Not Afraid To Lose: Chorus
Bleak: Chorus
Would You Kill: Chorus
Marching In Time: Chorus

Misc. Comments
- Tanners bass on this record is definitely a step up from Erocks bass on AIW & ADM but maybe still not as “in the spotlight” as much as WVHs was in Cauterize & Dust. But it’s nice that he’s finally able to be an official member of the band.
- Ryan’s drumming on this record is amazing. Had no doubts in my mind that he was going to knock it out of the park on this record while also bringing something new and unique to the record compared to Garret, which I think he managed to do. Lots of standout moments on the record for him. But particularly the end of Marching In Time.
- Felt like the mixing on the record was still good, despite I think Erocks harmonies and backing vocals largely being pushed back or buried in the mix compared to previous records. But the bass sits nicely in the mix this time around.
- Marks vocal improvement is yet again a very noticeable aspect of the record. His tone and delivery only seems to get stronger with each release. My only gripe I might have would be him not going for the high notes as much or pushing his range as much as he has in the past, or when he does, the mixing completely ruins and buries it in effects that aren’t necessary except for a few key points in the record.
- A little disappointed with the album length being sub-one hour despite the individual song lengths all being above 3 minutes. But it’s his second longest solo record so I’ll take it. The 2 bonus tracks would knock it over the 1 hour time tho.
- This album was a major step up from Walk The Sky for Mark, IMO. Could be my bias tho.

Lyrics: 8/10
Vocals: 9/10
Instrumentals: 8/10
Album Length: 9/10 (10/10 with both bonus tracks)
TOTAL: 34/40

MIT Album Ranking
A Dying Machine =/= Marching In Time (either one could be #1 on different days lol)
All I Was
Cauterize
Dust

[scarecrow]

Totally, but I doubt Mark is capable of writing a chorus that isn't overblown, pompous and blatantly melodic. Having 4 chords that are being repeated is an easy way out. But yeah, if you tune starts out like Slayer and plows your ears through the verses and pre-chorus and then turns into pop rock in the chorus, it just doesn't make sense.

It's not just Mark who's doing that.
Most of current active rock bands write poppy choruses that don't fit with the rest of their songs.
Weirdly enough, they all sound the same to me. I read or watched something about that one day, and I think it has to do with the key they're written in. That's the popular sound with kids these days, and I totally understand why Mark follows that path with his band.

As to the album, I haven't digested it yet, so I don't know how I feel about it yet.
I just know that the way Mark pronounces Us in the Let That Be us chorus is funny to me, because all I hear him sing is Let That be Ass.

Also, I totally get what you mean here:

Would You Kill: The final HEAVY parting shot before the closer. Maybe the thrashiest the album gets. BUT the bridge - the first time I've heard THAT Human Clay guitar sound since... Human Clay!? (3.5/5)

That guitar sounds reminds me of Never Die in particular.

thank you, i was wondering if i was the only one who heard that!

[scarecrow]

The thing that sounds a bit weird to me and which happens a bunch of times on the album is the juxtaposition of some unbelievably fantastic heavy thundering thrash intro riffs that then morph into beautiful soaring almost arena rock quality choruses. Both by themselves are so good, but they sort of sound funny squished together in the same song.

It's been the issue with this project since day 1.
A bunch of juxtaposed great parts doesn't necessarily turn into a great song.

Prime example: Now and Forever's bridge is just fucking nasty, and then immediately switches back into a super poppy chorus. There is zero transition, and it just does not work there, at least for me.
...
You can be all over the place with crazy juxtapositions and have it work (we see it a lot in prog) but those transitions have to be done well; I'd argue here that they aren't.

Agreed.
I was listening to a few new songs yesterday, and some transitions shocked me.
Sometimes, there weren't any transitions at all, and at other times, it felt like I had already heard them in previous AB or Tremonti songs.

That's why, more than ever, Mark needs to work with a new producer who will call him out on that precise aspect of his songs and push him to write something more elaborate.

Totally, but I doubt Mark is capable of writing a chorus that isn't overblown, pompous and blatantly melodic. Having 4 chords that are being repeated is an easy way out. But yeah, if you tune starts out like Slayer and plows your ears through the verses and pre-chorus and then turns into pop rock in the chorus, it just doesn't make sense.

that's the beautiful thing about art, y'all. what doesn't make sense for some makes perfect sense for others. personally i love the juxtaposition.

not sure about "pompous" or "overblown" either lmao

[VigilantSteve]

The thing that sounds a bit weird to me and which happens a bunch of times on the album is the juxtaposition of some unbelievably fantastic heavy thundering thrash intro riffs that then morph into beautiful soaring almost arena rock quality choruses. Both by themselves are so good, but they sort of sound funny squished together in the same song.

It's been the issue with this project since day 1.
A bunch of juxtaposed great parts doesn't necessarily turn into a great song.

Prime example: Now and Forever's bridge is just fucking nasty, and then immediately switches back into a super poppy chorus. There is zero transition, and it just does not work there, at least for me.
...
You can be all over the place with crazy juxtapositions and have it work (we see it a lot in prog) but those transitions have to be done well; I'd argue here that they aren't.

Agreed.
I was listening to a few new songs yesterday, and some transitions shocked me.
Sometimes, there weren't any transitions at all, and at other times, it felt like I had already heard them in previous AB or Tremonti songs.

That's why, more than ever, Mark needs to work with a new producer who will call him out on that precise aspect of his songs and push him to write something more elaborate.

Totally, but I doubt Mark is capable of writing a chorus that isn't overblown, pompous and blatantly melodic. Having 4 chords that are being repeated is an easy way out. But yeah, if you tune starts out like Slayer and plows your ears through the verses and pre-chorus and then turns into pop rock in the chorus, it just doesn't make sense.

that's the beautiful thing about art, y'all. what doesn't make sense for some makes perfect sense for others. personally i love the juxtaposition.

not sure about "pompous" or "overblown" either lmao

It's so funny, because those complaints are precisely the main reasons why I love and listen to Tremonti.



Absolutely love what I've heard of the album so far, though I've only listened up through Let That Be Us on the way to work.

[Mr. Slash]

Speaking of choruses, I can see that Tremonti (and also Myles) offers many points of criticism. Many choruses simply lack a catchy element, instead they rather focus on looooong vocal melodies which tend to sound bland. There is quite often some feeling of disappointment, when listening to new AB/Tremonti songs, simply because they build up so well, but then it's all kinda destroyed by a weak chorus. (That's also one reason why I like "A Thousand Words" off Myles recent record so much. The chorus melody is rather simplistic and catchy)

Overall, the situation is not so bad in Marching in Time. Many songs have choruses which fit well to the rest of the song. But I'm really happy that they did not release "Now and Forever" as first single, because that song is pretty much the main reason why I made this post. Then on the other hand I think it's quite cool in which direction the song develops during the bridge.

[WaywardOne]

Fortunately, Mark is so good at both that it still works, even when it does sound a little schizophrenic.

It mostly works for me but I hear you. I've actually sent 'Let That Be Us' to a couple of friends (who appreciate a good tune but aren't exactly metal-heads), and I've sort of found myself needing to apologise for the heavier parts of that particular song

NEVER APOLOGIZE

[Dan Dando]

Fortunately, Mark is so good at both that it still works, even when it does sound a little schizophrenic.

It mostly works for me but I hear you. I've actually sent 'Let That Be Us' to a couple of friends (who appreciate a good tune but aren't exactly metal-heads), and I've sort of found myself needing to apologise for the heavier parts of that particular song

NEVER APOLOGIZE

Sorry.... DOH!

[SHEAKENBAKEN]

I want to hear Walking Beside Me now, dammit!

From a comment on Facebook: Think of "In Loving Memory" reimagined as an epic. Really touches on how he feels going through life after his mothers passing. The tone change reminded me of blackbird though. Such a somber tone at first to something thats almost angry bit you can feel it. Definitely a niche track but I teared up a bit.

[Dan Dando]

I want to hear Walking Beside Me now, dammit!

From a comment on Facebook: Think of "In Loving Memory" reimagined as an epic. Really touches on how he feels going through life after his mothers passing. The tone change reminded me of blackbird though. Such a somber tone at first to something thats almost angry bit you can feel it. Definitely a niche track but I teared up a bit.

What? In Loving Memory... is evolving

(cheeky Pokémon reference)

[Dolo]

I'm not saying anyone is telling him what to do, I just don't understand after all this time people expect anything OVERALL any different than the style we usually get. The man makes melodic alternative/hard rock/metal. It's been brought up literally since before All I Was even released. By the alot same people. Why keep doing that to yourself, if you obviously don't like the style? It's not really a secret that he has no issue making song with a thrash verse and soaring melodic chorus, and it's been that way for a decade at this point. Why show up every 3 years to complain about it all over again?

Artists usually develop and try out new things like a new studio, new producer, new songwriting methods etc. but I guess Mark is not really like that and that's too bad.

I've said it on here once that I keep coming back to check out whatever AB, Myles and Mark are doing because those guys really got me into music around 14-15 years ago and even though I'm not sold on the later stuff, I still love the early stuff and I'm always interested to see what's new. Actually not much, but that's fine.

You say you don't get why we show up here all over again to complain - I don't get why everybody gets so pumped about the stuff that's gonna sound just like the previous record. But I think we're still allowed to have a civil discussion about it.

[anguyen92]

I don't get why everybody gets so pumped about the stuff that's gonna sound just like the previous record. But I think we're still allowed to have a civil discussion about it.

Because people like that kind of stuff. Simple answer, yet effective. Am I not allowed to get excited about stuff that I know what's coming?

[Dolo]

I don't get why everybody gets so pumped about the stuff that's gonna sound just like the previous record. But I think we're still allowed to have a civil discussion about it.

Because people like that kind of stuff. Simple answer, yet effective. Am I not allowed to get excited about stuff that I know what's coming?

Of course. Yet some of you jump down the throats of those who think otherwise.

[chtimixeur]

I can understand that people like Tremonti as a band and enjoy this record.
What I don't get is all those insane reviews giving it a 9/10 or a 10/10.
Have those reviewers ever heard an actual masterpiece? Those things are pretty rare if you ask me.

I'm a bit older than most people here, and I've listened to a lot in albums in my life. I may give a 10/10 to 5 or 10 albums tops (even the mighty Metallica don't deserve one IMHO, despite being my favourite band), and I only heard three 9/10 records during the last 15 years...

[Dolo]

I can understand that people like Tremonti as a band and enjoy this record.
What I don't get is all those insane reviews giving it a 9/10 or a 10/10.
Have those reviewers ever heard an actual masterpiece? Those things are pretty rare if you ask me.

I'm a bit older than most people here, and I've listened to a lot in albums in my life. I may give a 10/10 to 5 or 10 albums tops (even the mighty Metallica don't deserve one IMHO, despite being my favourite band), and I only heard three 9/10 records during the last 15 years...

(edited)

[Dan Dando]

I don't get why everybody gets so pumped about the stuff that's gonna sound just like the previous record. But I think we're still allowed to have a civil discussion about it.

Because people like that kind of stuff. Simple answer, yet effective. Am I not allowed to get excited about stuff that I know what's coming?

Of course. Yet some of you jump down the throats of those who think otherwise.

I wouldn't worry about it, bud. Here comes a naff analogy. If you dig Tremonti, then a new album coming out is like the closest thing to Christmas day. And it's naturally gonna ruffle some feathers if you're looking at someone else's cool and shiny new toy on Christmas Day (at least as far as they're concerned) and all you can muster up is a... "Meh". Heh. Although please don't think I'm suggesting that you aren't entitled to voice an opinion. It's just the nature of things that's all. Whether it's a Tremonti forum, or a Foo Fighters forum, or an Ariana Grande forum, a "Meh" from someone on album release day is always going to result in... "How dare you for not having the same dopamine hit as me. How bloody dare you!"

[Dolo]

I don't get why everybody gets so pumped about the stuff that's gonna sound just like the previous record. But I think we're still allowed to have a civil discussion about it.

Because people like that kind of stuff. Simple answer, yet effective. Am I not allowed to get excited about stuff that I know what's coming?

Of course. Yet some of you jump down the throats of those who think otherwise.

I wouldn't worry about it, bud. Here comes a naff analogy. If you dig Tremonti, then a new album coming out is like the closest thing to Christmas day. And it's naturally gonna ruffle some feathers if you're looking at someone else's cool and shiny new toy on Christmas Day (at least as far as they're concerned) and all you can muster up is a... "Meh". Heh. Although please don't think I'm suggesting that you aren't entitled to voice an opinion. It's just the nature of things that's all. Whether it's a Tremonti forum, or a Foo Fighters forum, or an Ariana Grande forum, a "Meh" from someone on album release day is always going to result in... "How dare you for not having the same dopamine hit as me. How bloody dare you!"

I defnitely do get that! Cheers bro for expressing that in a really cool way.

[anguyen92]

It's a 10/10 album based on their metrics that they set for themselves. I don't think this is a 10/10 album myself, since I didn't enjoy the first half of it as much as the last half of it, but I can safely say it's a favorite album of the year. Now granted, I haven't listened to as many albums this year as I used to. Only listened to Ides of March, Iron Maiden's Senjutsu, a JPop artist album, a Daughtry album, a Steven Wilson album, a Foo Fighters album, and a JPop composer album, but even compared to the albums I've heard in 2019, 2020, yeah, I rate Marching in Time highly.

If you think I always rated Tremonti albums high, I don't even like Dust all that much compared to the albums I've heard in 2016 (which was a good year for me), other than that, I always rated Tremonti albums as #2 in my favorite album of the year category in the years they come out. I've listened to many albums of certain variety and been to concerts of certain variety. I like to think I have a solid idea of what I enjoy and don't enjoy and I enjoyed Marching in Time. A lot.

I wouldn't worry about it, bud. Here comes a naff analogy. If you dig Tremonti, then a new album coming out is like the closest thing to Christmas day. And it's naturally gonna ruffle some feathers if you're looking at someone else's cool and shiny new toy on Christmas Day (at least as far as they're concerned) and all you can muster up is a... "Meh"

Hey, someone else gets to use the Christmas analogy. Excellent.

[Dan Dando]

Hey, someone else gets to use the Christmas analogy. Excellent.

I'm so unoriginal

[CrowsOnAWire]

https://thesymphonyofrock.com/2021/09/ ... itory/amp/

TREMONTI’S NEW ALBUM EXPLORES ECLECTIC TERRITORY

Every band has a judgment day when it has to prove itself, once and for all.

Tremonti’s validation has finally come in the form of the band’s fifth studio album, Marching In Time, a clear-cut aural assault courtesy of the band’s eponymously juggernaut guitarist, aka Mark Tremonti.

For this album, Tremonti and fellow stalwart guitarist, Eric Friedman, are joined by Bassist Tanner Keegan and Drummer Ryan Bennett. Marching In Time was produced by longtime Tremonti friend and collaborator Michael “Elvis” Baskette, producer extraordinaire of artists such as Slash, Falling In Reverse, Sevendust, and Alter Bridge.

Musically, Marching In Time is everything you would expect and more from Tremonti. Tremonti delivers a wide-ranging selection of genres and explores an assortment of sounds that weave throughout each song. To be sure, there are the ever-present and relentless riffs that Tremonti is famous for. But Marching In Time showcases 12 strong individual tracks and a surprising variety from Tremonti. That in itself is a hard thing to successfully pull off: while other bands risk sounding like they all over the board, it just works exceptionally well for Tremonti.

There is definitely something for everyone in Marching In Time. For example, listeners can hear heavy metal overtones in “Let There Be Us.” Then there is the fast and abrasive thrash/speed nuances of “In One Piece,” where the guitars are proficiently pitted against each other, complete with the hardcore-like drumming and driving bass. Pure-pounding rock results in “Would You Kill” and “Bleak” whereas “Not Afraid To Lose” and “Under The Sun” lends a nod to alternative rock. This does not mean Tremonti is confused by what musical direction or place the band is striving to find. On the contrary, Marching In Time demonstrates an eclectic experiment of musical flavors that gives a viable platform for the band.


In addition, one of the most refreshing aspects of Marching In Time is not so much the well-proclaimed musical expertise but the intelligent and meaningfully-written lyrics. Tremonti’s words can be thought-provoking and conscientious at times. In “Bleak,” the guitarist poeticizes, “Now here at last the time gone/Remain the fool, the victim of/Life it would likely beat you down/At least the fight is over now/It’s over now” though others times his lyrics are simply refined in nature as in “If Not For You.” (“Guilty again, if it were not for you then I’d be dead/Then I’d be dead.”) But even the latter are emitted with all the expressed intensity and eloquence that we have come to expect from the guitarist.

This is especially further evidenced in the seven-minute title track, “Marching In Time.” The song is personal in nature and appears to be specifically written for his young family as a fatherly plea, especially since Tremonti became a father again to a daughter during the pandemic. (“So many lives marching in time/move to the beat of the old and the blind/under the skin, hollow within/Sift through the ashes we’ve all left behind, oh please promise me/I’d do anything. I’d do anything/Don’t let this cold world change you/ Don’t ever go astray, and don’t you… Fail to keep on giving/Don’t fail to show your strength… No/Like so many lives marching in time/Never let go, hold onto hope/Know in your heart that you’ll never be alone/ I know you will see if you believe/The more that you give, then the less you’ll ever need/Oh please promise me/You’re my everything.”)


Vocally, Tremonti has grown since the band’s 2015 debut solo album, Cauterize. Tremonti is a vocalist that can bring the live feel back to the studio; he knows his range capabilities and delivers with each song. As a result, Marching In Time sounds clear and not overly produced, lacking the massive overdubs and studio techniques that some bands employ to enhance the sound. While the band bears Tremonti’s name, props also need to be extended to Friedman, Keegan, and Bennett, each prolific musicians in their own rights who provide a solid background to the guitar maestro. All solid players that make Marching In Time a band rather than a side project by Tremonti.

Tremonti fans won’t be disappointed with Marching In Time and the album will definitely win a lot more fans with this release.

[Dan Dando]

I can understand that people like Tremonti as a band and enjoy this record.
What I don't get is all those insane reviews giving it a 9/10 or a 10/10.
Have those reviewers ever heard an actual masterpiece? Those things are pretty rare if you ask me.

I know someone who won't watch movies not made by Marvel Studios. Different strokes and all that