Having had a couple days to digest this song, it has quickly grown on me. Initially I thought it was decent, but it didn't really pop on first listen. Now I count it as tied for my favorite of the pre-release tracks.
- I like the old-school chorusey effect on the intro guitar, and the little bendy groove that follows is really cool.
- The verse is classic Tremonti fingerpicking along the lines of Creed's "Away in Silence" or "Time". It actually wouldn't surprise me if this verse was originally written for Creed given the vocal range Myles uses. I wonder if it was even lifted from one of the shelved Creed songs of the early 2010s. The way Myles's voice follows the guitar also reminds me of "Cradle to the Grave".
- The first notes of the chorus sound like we'll get one of Alter Bridge's classic epic choruses, but it ends up being more theatrical. It seems like AB are doing more of this with each album – in an effort to avoid creating a totally predictable, cookie-cutter chorus melody, they end up with something that would sound at home on Broadway. I also like how the final notes (while Myles sings "the silent waves that crash inside") tie in with the bendy parts of the intro.
- As far as the bridge goes, the quiet-loud-quiet-loud cadence feels like a weak attempt to create drama. I also generally don't like bits of 3/4 songs like this where Flip is hitting the snare on every "1" beat of the 1-2-3... it's just too much.
- I'm not sure what to call the "bridge" between the bridge and Myles's solo, but I love it. So haunting, and sounds like pure chaos.
- It does seem like Myles's solo could have been doubled in length, but I understand why they didn't. They've avoided calling this song an "epic" because I don't think it's quite intended to go fully in that direction.
- I think Mark's solo is one of his most innovative in recent memory. It's quite spastic in how it flows. There are these quick vibrato bits that create this really unstable feeling, and some of the quick diddles throughout almost sound like he's hammering with his left hand and tapping with his right hand on the same fret – anyone else get this sense?
- As I mentioned in my listening party review, I almost wish the the vocalizations in the outro would just go on and on!
- I understand people's criticism of the production. The verses are good – the mix leaves breathing room and you can hear Brian's bass very clearly. The choruses are way too compressed; you can't hear guitars, and the cymbals barely sound like distant jinglebells.
- Overall, it seems like a fitting closer for the album.
Sugar Blade wrote:While reading this forum, I read a few times that The Last Hero and it's infamous mixing reminded some people of humming of the bees. I'm happy to say that the primary hook of the song sounds exactly like swarm of aggressive humming bees penetrating through... Something. It's quite interesting and reminded me of very distinctive sounding Bleed it Dry and The Other Side riffs. New interesting sounds is something that previous singles totally lacked of.
Yes! Why didn't I think of this? I was so focused on the cyborg laser bees on "Indoctrination" that I never saw the parallel between this intro and that of "Losing Patience" – AB's original use of bee sounds.
Now regarding the video, I think it falls into somewhat of a gray area as to whether it qualifies as a full-on music video, given that it seems to be have been based on existing footage rather than anything newly-shot. That said, I do think it's cool and unique. There are enough performance videos and lyric videos out there, so it's nice to see them doing something different. It reminds me of something out of the 80s, when CGI was really just budding, and the graphic capabilities were so immature that you ended up with more psychadelic-looking visuals than anything else. Maybe that's the point – it ties in with the other throwback elements to this album's sound. I could see it playing late at night on VH1 back in the day.