RHINO EDITION
FACTORY SEALED – LONG OUT OF PRINT
ABOUT THE ALBUM
A metal anthem for the voiceless.
Twelve tracks driven by a message of compassion for all creatures—musically blending crushing heaviness with classical ambition.
Think: Beethoven meets Frankenstein.
This album expands the Tourniquet sound in bold ways, incorporating modern metal textures, ambient interludes, and classical piano-driven themes while remaining unmistakably rooted in Ted Kirkpatrick’s singular musical vision.
CUSTOMER REVIEW
After listening to this album six or seven times, I finally feel confident sharing my thoughts.
At a high level, the twelve tracks break down like this:
7 full-on rockers, 1 ballad-leaning song, 3 short instrumentals, and 1 spoken-word piece set over ambient music.
A few things immediately stood out as new territory for Tourniquet:
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Metalcore / nu-metal influences appear in select moments—particularly in vocal styles, breakdowns, and rhythmic accents.
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Instead of the violin and cello emphasis heard on earlier releases, this album leans heavily on piano (or possibly keyboard/harpsichord) to carry its classical themes.
Some listeners may appreciate this album more if they approach it not as a traditional Tourniquet record—but I won’t get pulled into the debate about whether this is a “real” Tourniquet album or a Ted Kirkpatrick side project. Either way, it reaffirms Kirkpatrick’s status as an exceptional songwriter with a seemingly endless ability to craft music that is memorable, melodic, heavy, and inventive—all at once.
The seven full metal tracks range from good to excellent. Below are brief thoughts on each track:
TRACK-BY-TRACK HIGHLIGHTS
1. Onward to Freedom (Prelude)
A classical piano piece that sets the stage, flowing directly into the next track.
2. Onward to Freedom
Features Michael Sweet alongside a metalcore vocalist. A solid, varied track—maybe not the album’s best, but easily a top-four contender.
3. The Slave Ring
Ambient effects and dog growls open the song before building into layered guitar harmonies and a thick, crunchy riff. The groove is slower but heavy, with metalcore vocals giving way to a melodic chorus.
Chris Poland (ex-Megadeth) delivers a jaw-dropping solo lasting nearly 90 seconds. One of the album’s strongest tracks.
4. The Noble Case for Mercy
A spoken-word performance by Ed Asner (Lou Grant) over ambient textures. At 3:11, it feels a bit long, and I’ll likely skip it on repeat listens—but it’s undeniably bold.
5. Let the Wild Just Be Wild
Starts brutally heavy, then drops into a softer section featuring Gabbie Rae’s vocals before erupting again. Ted’s intricate footwork in the middle section is worth focused listening.
Rex Carroll handles the solo—instantly recognizable by the sheer number of notes unleashed.
6. No Soul
A groovy opening riff pairs perfectly with dUg Pinnick’s soulful vocals. Bruce Franklin’s solo gives the song a feel reminiscent of Supershine, where Franklin and Pinnick previously collaborated.
7. If I Had to Do the Killing
Opens with an insane drum solo before charging forward with Kevin Young (Disciple) on vocals. Packed with relentless drumming, groove-laden riffs, and pure momentum—one of my favorites on the album.
8. Virtual Embryo
A one-minute ambient interlude. Ted clearly leans into atmosphere on this album.
9. Stereotaxic Atrocities
A reworking of the Tourniquet classic, now featuring Luke Easter on vocals. The layered vocal approach adds depth, and Marty Friedman delivers a standout solo toward the end. A great modern reinterpretation.
10. Animal Crossing at the Rainbow
Another piano-based instrumental. Nicely executed, though perhaps not essential.
11. Drowning in Air
Begins with fast piano runs before exploding into the fastest and most chaotic song on the album. At 6:26, it’s also the longest track, packed with riffs, breakdowns, strange interludes, and controlled chaos.
Tony Palacios contributes a shred-heavy solo (or possibly two). This might be the album’s best track.
12. Cage 23
Think “Twilight” from Vanishing Lessons—not the movie. A lighter, atmospheric closer with female vocals that gently brings the album to a close.
FINAL THOUGHTS
Overall, this is a very strong album that continues the evolution of one of metal’s most underrated bands as they approach their 25th anniversary. Time will determine where it ranks in the Tourniquet catalog, but it’s clearly neither their weakest nor their strongest—which, for a band with this level of consistency, still places it above many other bands’ best efforts.
Tourniquet has released so many exceptional albums that even an average release from them often surpasses the peak work of others. This album proves that once again.
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