Alliance’s Before Our Eyes is a masterclass in melodic rock, the kind of album that feels like a lost gem from the golden era of AOR but lands with the force of a band still hungry to prove something. There’s no rust here—Gary Pihl’s guitar work is crisp and full of life, Robert Berry’s vocals soar with an effortless richness, and David Lauser’s drumming locks everything in with an energy that keeps things fresh. It’s big, bold, and brimming with the kind of songwriting that makes you want to roll the windows down and let the music take over.

From the opening moments of “Tell Somebody,” you know you’re in for something special. It’s got that signature Alliance mix of chugging riffs and sweeping vocal harmonies—a song built for arenas that still comes through with just your car speakers. “Nothing Will Make You Change” slows things down but never loses its momentum, with a chorus that could stand shoulder to shoulder with anything Journey or Toto put out in their heyday. The melodies here are pristine, effortlessly weaving between nostalgia and something undeniably fresh.

Then comes “Too Many People,” bringing in a bluesier, funk-infused groove that sounds like it could have been cooked up in a jam session with Bad Company. The swagger is infectious, and just when you think the album might settle into a groove, “Face of Justice” steps up with a killer little banjo moment that you just have to hear—it absolutely rips. And then there’s “Good Life,” a sun-soaked slice of optimism wrapped in layers of harmonized guitars and the kind of major-key magic that makes it impossible not to smile. It’s the album’s most purely uplifting and cinematic moment, the kind of track that could have been blasting on FM radio in the late ’80s between Foreigner and Night Ranger.

Things take a cinematic turn with “Joan of Arc,” a slow-burning epic that leans into atmosphere, building from a haunting, almost Pink Floyd-like intro into an explosive chorus of emotion and love. There’s a weight to this one, something grand and mythic that sets it apart from the more immediate rockers surrounding it. “Can’t Stop Messin’” flips the switch back to straight-up fun, with a riff-heavy groove and a ZZ Top-esque bounce that keeps the album from taking itself too seriously.

“Right” is one of those deep cuts that sneaks up on you—a slow-building, moody track that starts small and grows into something massive. Berry’s vocals here are particularly raw, carrying a weight that makes every note hit that much harder. And just when you think the album might start winding down, “100 Sad Goodbyes” delivers one of its most emotional moments, a quintessential AOR ballad that tugs at the heartstrings without ever feeling forced. Pihl’s guitar work is stellar here, layering in delicate textures before unleashing a solo that practically sings.

And then comes “Tonight,” an all-out rock anthem that makes you want to grab a mic stand and belt it out in your living room. There’s a playfulness to it, a feeling of unfiltered joy that captures everything great about this band. Just when you think it’s the perfect closer, “A Bone to Chew On” crashes in—a bluesy, riff-driven jam that feels like a late-night studio session turned into an album highlight. It’s loose, fiery, and exactly the kind of unpredictable ending that leaves you hitting repeat instead of letting the album fade out quietly.

Before Our Eyes is the sound of a band that refuses to slow down. It’s polished without feeling sterile, nostalgic without feeling stuck in the past, and packed with the kind of craftsmanship that makes classic rock endure. If you’ve ever had a love affair with Boston, Journey, or Foreigner, this is an album that deserves a spot in your rotation. Be on the lookout for its release on March 28th.