Album Review : Shouse “Jaded “ (2025)
At Lelahel
Metal, we don’t often stumble into guitarist-driven instrumental albums, but
every so often, one appears that demands attention. Jaded, the
long-awaited return of Kentucky guitarist Michael Shouse, is absolutely
one of those records. After 15 years of silence, Shouse comes back not just
with renewed fire, but with an arsenal of guest legends and a compositional
ambition that sets this album apart from most guitar-centric releases in the
metal world.
Clocking in
at a tight 33 minutes, Jaded is a whirlwind of technical riffs, shifting
moods, and daring musical architecture. Shouse famously incorporates a
staggering number of key changes—sometimes 30, sometimes 70 in a single
track—and somehow manages to make them feel fluid rather than chaotic. It’s an
approach that gives the album constant motion, a sense of unpredictability that
keeps the listener alert and engaged.
The album
opens with the atmospheric “(Prelude) Romeo and Juliet”, a short,
cinematic tease before the full weight of the record begins. “Romeo Is Gone”
and “A Bitter Cold” show Shouse’s knack for marrying melodic phrasing
with tightly wound, high-energy riffing. Fans of Megadeth-era Rust in Peace
will find flashes of familiarity in the way the rhythms punch forward and the
leads dance above them—there’s a similar aggressive precision, though Shouse’s
sound remains his own.
One of the
standout characteristics of Jaded is the guest roster. Shouse shares the
spotlight gracefully, inviting iconic virtuosos like Michael Angelo Batio,
Ron “Bumblefoot” Thal, and Tony MacAlpine to contribute solos.
These guest moments don’t feel like shoehorned cameos—they melt into the
compositions naturally, elevating the intensity rather than overpowering it.
Drummer Charlie Zeleny and bassist James Amhelio Pulli provide a
rock-solid foundation beneath the maze of guitar lines, proving essential to
the album’s tight, adrenalized sound.
If there’s
a production flaw worth mentioning, it lies in the drum mix. The kick drum
leans too heavily into the low end, occasionally muddying the mix, especially
during dense riff sections. It’s not ruinous, but it’s noticeable—and at times
distracting. Still, Shouse’s creativity and musicianship are so strong that the
ear adapts, and by the middle of the album, the compositions overshadow the
production quirks.
“Smiley
Faced Emoji” is one
of the more playful tracks, built on major pentatonic leads and more than 30
key changes handled with surprising elegance. “Bucket of Bolts” and the
title track “Jaded” are where Shouse’s compositional philosophy reaches
maximum impact—alternating major and harmonic minor movements every few beats
creates a dramatic, almost cinematic tension. Despite the technical intensity,
the tracks remain melodic, expressive, and surprisingly catchy.
The album closes with “Upon Looking Back”, a reflective, emotionally charged finale that ties Shouse’s personal journey—house fires, heartbreak, pandemic isolation—into a wordless but deeply felt statement.
Jaded is both a rebirth and a
declaration. Technical without being sterile, emotional without slipping into
sentimentality, and filled with a sense of purpose that only comes from an
artist returning after a long storm. Imperfect mix aside, Shouse delivers a powerful
instrumental metal experience that fans of virtuoso guitar work—and heavy music
in general—should not miss.
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