Once more, I have to state that guitar orientated albums are a very good experience for guitarists, but in general, are a truly experience for common fans. But some guitarists are masters on the six strings axe, for they have clearly the idea that the more important to music is music itself, not the self-indulgent technique. So they are, primarily, composers. And MARTY FRIEDMAN is a great composer, as "Wall of Sound" is here to prove. On this album, we can feel all the musical good taste of Marty for creating very good songs, even using some parts where violin inserts can be heard. But he knows when to play aggressively and heavy, and on others how to unleash very good melodic parts. His playing style is untouched, that wise mix between some technical moments along with those introspective and melodic parts. The songs are a fine example of what he can do.

The sound production of "Wall of Sound" was done in a form that justifies the album's name: is a true wall of sound: heavy, aggressive and solid. But of course the sound flows clear and understandable to our senses. Then we can say that all the work on the recording (in part on Dave Grohl's Studio 606), with the engineering done by Paul Fig (who previously worked with ALICE IN CHAINS, DEFTONES, and RUSH amongst others) hit the target.

As Marty stated, "Wall of Sound" is "a way more intense version", being "deeper, sadder, happier and more aggressive", and the special guests (Jinxx of BLACK VEIL BRIDES on "Sorrow and Madness", Shiv Mehra of DEAFHEAVEN on "Pussy Ghost", and Jorgen Munkeby of SHINING on "Something to Fight") enrich the album even more. So we can point as the album's finest moments are the dense and melancholic "Self Pollution" (great arrangements), the excellent and beautiful "Sorrow and Madness" (with very good pianos and violins parts, and excellent melodies between the excellent shreds of Marty), the contrast between excellent melodies and heavy rhythmic work shown on "Streetlight", the deeper and melancholic approach on "For a Friend", the abrasive modern influence that rises from the guitars on "Pussy Ghost", the only song with vocals that is the modern and aggressive "Something to Fight", the balance between aggressiveness and melodic parts shown on "The Soldier" (another one presenting good piano interventions), and the excellent tender sentimentalism that flows from "Miracle".

This is a great work from Marty, indeed. So let's forget the past, and go to the future, for "Wall of Sound" is proof of a musician that is alive and kicking asses.