For fans of Queensrÿche, The Warning and their debut EP marked the beginning of a journey that would later explode with mainstream success thanks to Operation: Mindcrime and Empire. While those later albums propelled the band into international fame, their earliest work remains an integral part of their legacy, with certain songs still holding a permanent place in their live setlists.
Last spring, the band performed both albums in their entirety for the first time at the Hell’s Heroes festival in Texas. The response was so overwhelming that they decided to take the concept on tour across the U.S. before heading to Europe, starting with a show in Helsinki.
In a recent interview with Metal Rules, guitarist and founding member Michael Wilton, spoke about The Origins tour, the evolving lineup, and their plans for new music. Reflecting on the tour, Wilton admitted that while it’s been an exciting and enjoyable run, and revealed that the band is already deep into demo work for their next studio album, yet scheduling remains a challenge.
“We’re currently working on demos for the next album, which is really important for us. After this, we have the Monsters of Rock Cruise, followed by the Monsters of Rock festivals in South America. That brings us to May. Then, we have some sporadic gigs here and there, but we’re also planning to work with our producer, Chris ‘Zeuss’ Harris, and continue the writing sessions. Hopefully… But we’re already getting offers for the end of the year, so I’m not sure when the album will be released. [laughter]”
Juggling performances and writing new material is nothing new for Queensrÿche, but Wilton acknowledged that the logistics have become increasingly complex: “You know, for the bands to make money, they have to tour. We get lots of offers—weekend gigs, two-week tours, or even just a weekend here and there. You can’t say no because if you do, someone else will take that opportunity and might not ask you again.”
That balancing act makes recording a new album tricky. According to Wilton, a proper Queensrÿche album requires about six weeks of uninterrupted studio time, which has become difficult to secure.
“The thing is, to do a proper Queensrÿche album, we need about six weeks of uninterrupted time. But it’s harder now because we have to juggle these gigs—weekends here and there—before coming back to focus. Zeuss has had to adapt; he’s very mobile now. He’s learned to be because we’re not the only band that does this; all bands do. He works with Rob Zombie—‘Hey, come on over for the weekend, let’s work on some stuff.’ Or with Shadows Fall—‘Let’s work on some stuff.’ So, he’s used to it. It’s just a matter of someone organizing it all.”
With the band performing their earliest material night after night, Wilton was asked if revisiting those old songs had any influence on their current songwriting.
“The thing is, when I go back and listen to the way I wrote things, it’s like…. I was 20 or 21 years old. As I’ve grown as a musician, I don’t think that way anymore. I mean, I’m still a riff monster, but now it’s more about the energy of it. Back then, we were taking chances, trying to be a little progressive here and there, and trying to be a bit thematic. So maybe that’ll translate into the new stuff. I don’t know.”
Looking back at their previous album, Digital Noise Alliance (or DNA, as they call it), Wilton acknowledged that it carried some old-school influences, reminiscent of early Iron Maiden. That raw, in-the-moment style of writing could continue into their next record.
“Well, we’re following the same process. With DNA, the recording and writing sessions were meant to feel fresh—nothing was emailed back and forth. Everything was built during the writing process. In that sense, it was about going back to the days when we’d be in a room writing the EP in the morning.”
This hands-on, collaborative style of songwriting has been a key part of Queensrÿche’s approach since their early days, even before modern technology changed how bands create music, Wilton explained.
“Back then, we didn’t have technology like we do now. No cell phones, no computers—maybe, if you were lucky, you had a four-track recorder. The way we worked was simple: ‘Hey, Chris, you got a riff?’ And I’d say, ‘Okay, I like that. Let me add something to it.’ It was a real band effort because everyone was in the room, giving input.”
That process resulted in songs that evolved organically, sometimes taking unexpected turns: “With DNA, everyone was involved—‘Oh, I like that,’ ‘Oh, I don’t like that’—and the songs evolved a little more each day—some songs we dissected and reworked completely. Take ‘Tormentum,’ for example—that’s like four songs merged into one! [laughter]”
While Queensrÿche has maintained a distinct musical identity over the years, their lineup has shifted significantly. Since then, the band has seen various members come and go, but Wilton and bassist Eddie Jackson have remained committed to keeping Queensrÿche alive.
“Well, you know, people change. As they get older, they want to do different things, and that throws a wrench into the machine. So, I have to figure out the best version of Queensrÿche we can have. Eddie (Jackson) and I decided that we would keep doing this until we were in our 80s. So, we brought in some new guys. Casey Grillo’s been with us for seven or eight years? Since he came aboard… I mean, Parker (Lundgren) decided to concentrate on selling guitars, so Mike Stone came in. The chemistry keeps changing, and the recipe keeps changing. But now, this version of Queensrÿche is really strong, and we’re going to make a record and keep kicking ass. [laughter]”
