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: : Angling
Feelings : :
Honestly, Angling Feelings is not as good as previous deployments that
included Roine Stolt on deck. Without him in the batter’s box or at the
forefront of this charge, their impetus periodically becomes limp and
flaccid at times. Then again, the album occasionally lifts its anchor
and leaves the safe harbor of its wharf.
In the ship’s log, I read this ace fisherman left his crew. At a point
in time, he and Hans Lundin co-piloted this project together. I’m under
the impression they founded this charter as a pair. Either way, I was
astonished to see a new album without their navigator on the guitar. I
thought his departure meant the bereavement of a band. Contrarily, I was
curious to hear what could be accomplished without him.
When it began, I was immediately flabbergasted. It seemed plain, drab,
and maladministered. It was almost embarrassing. As their efforts
continued, the problem immediately became apparent.
The second, third, and seventh song were all quite good whereas the
opener-and-title-track was impossible to harpoon. I wouldn’t have minded
it at a later phase. As captain Keith Colburn would say, “It only takes
one bad wave to ruin your day.”
Where this destructive surf was placed was easy to misconstrue. How
could I have known this effort would improve? In my opinion, an album
should get its name from the best song, or at least external literature
or a clever theme. To name it after the worst part and put it on the
hull is a regrettable mistake.
I wonder how many people heard this disc and decided to use it as target
practice. While I didn’t say, “pull” right away and follow it with a
plastic-shattering recoil, it wasn’t entirely out of the question to
send it down the plank. If it’s any consolation, I’m happy I stayed on
for its duration as there are great moments in “The Fleeting Existence
of Time” and “Path of Humbleness”. Plus, “The Glorious Silence Within”
sparkles enough to be deemed good even if it’s bad grammar ending on a
preposition.
On the repeat, the title track isn’t terribly noble, but it’s more than
tolerable. It actually fits well within the context of the album. I just
would have not named the album after it and put it on the bow.
Maybe this is something that Stolt would have fixed had he controlled
the rudder. Alternately, his guitars are missed, but his understudy and
fill-in does a respectable job. This is provided by another Swede named
Per Nilsson.
As to the omission of Stolt’s voice, that is a loss too. While Patrik
Lundström and Aleena Gibson pleasantly represent this music, there is a
gap in their vocal spectrum. In the past, Stolt spackled this
perforation with his own blowhole.
It’s hard to say if Stolt’s absenteeism is going to be a problem going
forward or if he’ll ever come back. We’ll have to wait for the future to
unfold to ascertain the answer. As for now, it’s not unreasonable to say
that this is their weakest effort and a concern.
To be fair, they shine
even when they are at their worst, and I would put this material ahead
of countless blubbery bands that occupy the mainstream. While those
outfits bore me till I lose consciousness and snore, this crew is always
captivating.
I suggest you cover your ears or skip the lobby, take the tour and only
then, return to the foyer. With the false perspective and malady
overwritten, you may rate this feeble float in their overall parade of
homes higher. While I liked Keyholder and Mindrevolutions so much more,
this intermittently hoists impressive mesh from the abyss. Yet, this
cannot hold a candle to those albums notarized with Stolt’s regal seal.
In more ways than one, glorious silence was and would have been better
than the title track.
As an album, this offers more once the gristle and barnacles are removed
from the keel. Then again, if you’re a progressive vegan, you might be
better suited to handle this or a Boca Meatless Burger.
Whatever the case may be, Jonas Reingold’s fleshy bass is easily the
best part. It’s unfortunate his schooner finds itself off-course within
this Bermuda Triangle of sorts. As if you were a crab on Discovery
Channel’s Deadliest Catch, at least one of his broad nets will reel you
in. Not to mention, Nilsson’s playing was a glass of freshwater
refreshment in the isolated wakes of a profusely saline sea.
In closing, there is a reason to consider this mutinous bounty
half-full. Several ditties and dinghies in this fleet were satiated with
fish. Whether you sink or go to market, you’re at least free from the
merciless commercial domain of Poseidon.
7.25/10
Reviewer - Josh Turner
: : Visit the Artist’s
Website :
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: : Discography : :
Angling
Feelings (2007)
Mindrevolutions (2005)
Keyholder (2003)
Notes from the Past (2002)
Nattdjurstid (1982)
Hander (1980)
Solo (1978)
Inget nytt under solen - (1976)
Kaipa (1975)
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