Taking that blend of alt-rock, gothic-tinged metal and classical infusions, a clash of light and shade, of grace and groove, that worked so well for the likes of Evanescence, The Way Out is a sonic journey in every sense of the phrase.

Not only does it wander from deep sonic recesses to sky-scraping crescendoes, but it also follows a narrative that discusses mental anguish and physical pain, looks to help from higher powers, juggles personal insecurities and finally manages to harness the various demons before the narrator can emerge into a lighter, more pain-free world.

There are moments on songs such as Sex Toy, where the pop-driven sound of Tucker‘s earlier work surfaces but here he mixes those more mainstream sounds with some real rock sonics and gothic moves and by the time we reach songs such as Avery, he is playing the role of full-blown rock and roller.

A nice change of pace from the lighter touch of his debut album, Wild, and a well-crafted rock opera.

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