There is a turning point in many bands careers that often clearly defines them to the masses. For Metallica, that turning point came with their major commercial breakthrough in 1991 with the famous The Black Album. For The Beatles, many would argue 1965’s Rubber Soul was a major artistic turning point. Then you have Canada’s Thousand Foot Krutch, who’s clear turning point was most likely in 2012 with the release of their album The End Is Where We Begin.
What would be Thousand Foot Krutch’s sixth overall studio album, some may say that 2009’s Welcome to the Masquerade was a big moment for the band, and they would not be wrong. That album, at the time arguably the heaviest they had ever recorded, landed them a US Billboard 200 charted position higher than ever before, plus featured the massively popular mainstream Rock hit “Fire It Up.” So, you could say that Welcome to the Masquerade was the table setter for what was to come with Thousand Foot Krutch, but still, there is much more to the story.
Now over twelve years since The End Is Where We Begin arrived, it is important to mention that just five months prior to the April 12, 2012 release, Thousand Foot Krutch announced in November of 2011 that they would be leaving longtime label Tooth & Nail Records. A big deal considering the major gamble of leaving a label where there was financial backing, promotion, as well as a comfort zone, Thousand Foot Krutch’s decision actually jump started more success. In fact, The End Is Where We Begin marked the band’s first of three top 10 US Rock Charted albums; itself reached number 7, 2014’s OXYGEN:INHALE peaking at number 2, and 2016’s EXHALE holding strong at number 6.
Rather impressive, Thousand Foot Krutch put years of earned experience to the test and won; finding creative ways to engage fans in promotion of The End Is Where We Begin with various pre-release packages. Something that brought Thousand Foot Krutch and their growing fanbase closer together, over a decade later it seems like many others have adopted a similar strategy, and there are perhaps more independent acts than ever before.
All fascinating aspects that signify the importance of The End Is Where We Begin to Thousand Foot Krutch, clearly they have not forgotten how special it is, because in 2024 they honor the album with a re-recorded edition they call The End Is Where We Begin – Reignited. Released on July 26th through Endurance Music Group, some may wonder – why rework an album that was already perfect? Well, there are many layers involved in this revisiting of past material that is worth discussing. First of all, it marks the first recordings from the band since a brief hiatus back in 2017 to be with their families. That said, instead of just trying to rework the songs that everyone knows and loves from The End Is Where We Begin, they called on an all-star cast of others to lend themselves to the new sessions.
A very different way to go about re-recording an older album, for 2024’s End Is Where We Begin – Reignited Vocalist/Guitarist Teerawk (aka Trevor McNevan) and company assembled a truly amazing group of musicians that include Ronnie Wood of the Rolling Stones, RED, Citizen Soldier, James Michael of Sixx:A.M., Adelitas Way, New Medicine, Saint Asonia with Adam Gontier, Icon For Hire, The Funeral Portrait, Art of Dying, as well as Eva Under Fire. Astounding to see that this diverse caliber of Rock-n-Roll names were available to record, the end result is really quite exciting.
Including each of the tracks originally featured on 2012’s The End Is Where We Begin, it is hard to decide which of these new recordings is the most fun, because each of them truly offers something a bit different. Done-over with class, some of the boldest of the bunch include “Light Up the Sky,” with the very distinctive voice of Icon For Hire’s Ariel Bloomer, Adam Gontier adding a whole new sound to “Let The Sparks Fly,” RED completely nailing their appearance on “I Get Wicked,” Jake Segura and Citizen Soldier providing amply emotion on “Be Somebody,” plus The Stone’s Ronnie Wood offering some highly distinctive guitars on “Courtesy Call.” However, you cannot overlook Rick DeJesus and Adelita’s Way undeniable presence on “War of Change,” and Eva Under Fire’s Eva Marie adding a new wrinkle to “All I Need To Know.”
Overall, The End Is Where We Begin – Reignited should not be looked at as a replacement to the original album, but more as a companion piece which pays tribute with an all-star band in tow. A really cool way to pique fans’ interest, with many anticipating some new original music sooner than later, The End Is Where We Begin – Reignited is not an insult, is pleasantly enjoyable, and a clear winning concept for Thousand Foot Krutch. That is why Cryptic Rock gives this album 5 out of 5 stars.
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