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@gabriel9 | 28 December 09 |
But despite the flashes of inspiration, there is a nagging sense that the album never quite delivers on its considerable promise. Nothing on the album is a failure, (although the awkward and unnecessary premise of 'The Dock of the Abyss' almost serves the render the song a disaster despite its good ideas), but neither does any of the album ever achieve brilliance.
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@gabriel9 | 28 December 09 |
Jitters certainly never feels like a band going through the motions to make an album. PO90 are a forward-looking band, and there is evidence of this right through the album in the way they cleverly marry elements of different techniques and genres into their songs. You want it to be a great album, and it in turn strains every sinew in trying to achieve that.
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@gabriel9 | 28 December 09 |
But ultimately there is a gulf between a good album and a great album, and for all its innovative ideas, sturdy songcraft and crisp technique, Jitters never quite finds enough of that magic that makes a good album great.
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@gabriel9 | 28 December 09 |
now re transatlantic, i'll just post some thoughts rather than a big piece... so here goes
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@gabriel9 | 28 December 09 |
it's a very smooth listen, nothing too different in style from the classic-sympho prog we're used to , despite the 8 year break, there was no way that Transatlantic would ever stray into the avant garde , they're just not that kind of band. And , being a 'side project', and not an ongoing concern, the lack of any big progression in style isn't any reason to mark the album down
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@gabriel9 | 28 December 09 |
On SMPT;e especially, Neal Morse's mark was everywhere, keyboard driven and very reminiscent of his work with Spock's Beard especially, bearing the hallmark of his slick , melodic songwriting and epic compositions. Bridge Across Forever was more of a 'group' effort, more songwriting credits and vocals shared out, and this continues for their 3rd album , it's telling that the first vocal we hear is
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@gabriel9 | 28 December 09 |
...Roine Stolts, after a typically epic classically built intro of several minutes. Stolt went back to SMPT;e and remixed it with less of Morse's keys leading each track, such was his feeling of frustration with the lack of time to put his stamp on the album first time round. And here , the guitars are much more prominent, as well as Trewavas' meaty bass lines, a big plus for this listener,
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@gabriel9 | 28 December 09 |
..giving the tightly composed symphonic workouts a jam-like element. This album was , typically for transatlantic, made in a week or so. An amazing feat, and yet this time they didnt go into it with a full batch of songs, a fair portion of this album was jammed out , you can hear the band as, well... a BAND.. and to that end it works to compliment the nicer melodies and radio freindly elements.
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@gabriel9 | 28 December 09 |
We know what to expect, for sure, but it doesnt make this a repeat of their previous two efforts at all, this has a plan from start to finish, and flows nicely , referencing a single theme like an intricate dance , reeling away to change focus, but never losing it's marker. The songs may be cut down to 'bite size' lengths, but this is their grandest album to date. Not only that, but it runs the
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@gabriel9 | 28 December 09 |
...gamut of emotion, grand and statley to loose and groovy, fast and aggressive to gentle and heartfelt, the mix of input here is balanced and it shows in the end result. Although, i don't know why, all these elements SHOULD mean it's a better effort than SMPT;e or BRIDGE ACROSS FOREVER.. but it isn't. Nothing here hits as hard as ALL OF THE ABOVE, has a
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