![Album Review: Marty Friedman – Drama](https://music-b26f.kxcdn.com/wp-content/uploads/bfi_thumb/marty-friedman-album-cover-2024-7dupkna8fjs8vdyz1832i4pa8hz3gs1vr26dvwtmdcz.jpg)
![Album Review: Marty Friedman – Drama](https://music-b26f.kxcdn.com/wp-content/uploads/bfi_thumb/marty-friedman-album-cover-2024-7dupkna8fjs8vdyz1832i4pa8hz3gs1vr26dvwtmdcz.jpg)
The Megadeth virtuoso unveils a sonic tug-of-war between metal and classical on his latest work
Although many recognize Marty Friedman as a pioneer of modern American heavy metal due to his contributions to groups such as Cacophony and Megadeth, Friedman hardly stays within the traditional confines of thrash metal. Always one to reinvent the wheel, Friedman broke free from the typical down-picked chugs of ’90s metal and brought his own influences and sonic principals to the table as attested by Jackson Guitars through merging both Eastern and Western scales and harmonies with elements of classical music to create a sound completely his own.
Friedman’s unbounded style is highlighted throughout his 15th solo album, Drama. In a series of sonic twists and turns, Friedman constantly keeps his audience guessing which way he will take them next, anywhere from classical to fullbore metal. Largely instrumental, aside from two tracks, Drama serves to not only highlight Friedman’s ever evolving guitar expertise, but additionally his skills as a composer. Percussion remains minimal, adding a rhythmic layer that allows Friedman to drive each piece forward on guitar, while tracks such as “Mirage” and “Deep End” feature accompanying piano harmonies.
The opening notes of Drama on “Illumination” lend to a soft, gritty, piano backed guitar tone seemingly full of sentiment before building to a bigger, louder lead. While the first minute of “Triumph” begins with a piano, string section, and chorus before Friedman enters with a perfectly crafted guitar arrangement doing what many may deem impossible — creating a sonic atmosphere in which metal guitar seamlessly compliments a classical concert hall. Following “Triumph,” Friedman takes his audience through a complete 180 on “Thrill City,” opening with a heavy down-tuned riff paired with an ascending guitar melody. Yet again, Friedman changes sonic directions on “Dead of Winter,” one of the two tracks on Drama that feature vocals. Through the assistance of New Zealand rock group, Like a Storm, creating a power ballad fit for the radio. Friedman unveils yet another surprise on the album’s closer in “2 Rebeldes,” a piano based track featuring vocals from Spanish metal outfit, Apolo 7, delivering another sentimental piece before Friedman unleashes a masterful solo to close out Drama.
Overall, Drama retains a relaxed, classical tone. potentially surprising for those who only associate Friedman with his time as one of the big four of thrash metal, but welcoming to ones who know that Friedman has never pigeonholed himself to one sound. Ultimately, Drama proves that genre can remain completely ambiguous.