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: : Photoplay
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It’s as if they went to One Hour Photo and picked out copies of their
favorite prints. Another analogy could be that they took their previous
album and laid it upon the scanner tray. Ditching verbose vernacular for
just a moment, I’ll put it in way that’s plain as rain. In layman’s
terms, this is “almost a photocopy” of Fanatic. If you’re into that sort
of thing, this will be right up your alley.
After just one listen, that’s how I decided to start the review. This
may be the case if you simply ponder what’s in plain view. It has the
same vibe as its predecessor, but there’s more within its shades,
shadows, and contours. Much more lies beneath the surface in this
ambitious overhaul. It’s just that it took me several spins to realize
that the redraft was significantly better. Since this album scores
higher, they can’t be accused of cheating. Instead, what they do is
exponentially expand upon a proven design. Fans will be stupefied by the
results of this snap-happy affair.
Let’s flip on the fluorescents and inspect the film in this
serendipitous stock of photogenic spool:
there’s a light – It’s debatable if this should have been the track to
start it off. Since it’s nothing new, longtime loyalists will either
welcome or detest it. It’s an innovation on an old albeit familiar
sketch. While it illuminates in the same manner as the source code, it
has the staying power of a laser beam or at least an incandescent bulb.
what goes around – Each instrument is loosely weaved around the next.
The bass is accurately timed as if it were the spark that ignites the
fuel. Like a chain reaction, the drums consistently pump like pistons.
The guitars are some of the trickiest components in this engine. The
vocals are varied from straightforward gabbing to synthesized falsetto.
The friction in its frame is what gives this track its torque and the
wheels their grip. The ominous keyboards are buried in the gears, but
they’re a nice touch nonetheless. With all the exquisite songwriting
plus the attention to detail, this luxury sedan is an early highlight in
the line-up. I’d say this song brings the old and the new together for
what seems to be the deluxe model. Then again, no assembly is required
for this much sought after kit.
asleep in my hands – This gets down and dirty in the mud, which takes us
in a much grungier direction. What this album demonstrates is Chandler’s
ability to add range within the confines of a strictly-followed formula.
If not for his playing, each song would sound pretty much the same.
Instead, he pulls the strings eschew and situates the songs in shrewdly
dissimilar configurations. Accordingly, the others alter their positions
slightly to give us something relatively out of kilter. Still, it’s
enthusiastically avid and ardently deft. Even the crazy keyboards charge
around the sharp corners and bridge. They go by in a blur, leaving
plenty of time for an impassioned and fervent guitar. As if
unobstructed, it accelerates in the straight-aways of the last remaining
stretch.
standing still – Here we get something relatively different. This one
and the next should have been the leading tracks. They go together well
and stumble headlong into an intriguing discovery. As the solution takes
effect, we encounter a startling revelation. Only four tracks in and
they’ve made a total breakthrough. Eureka, it’s subtle, but they try a
few untaken tricks. If they wanted to make the greatest impression, this
is where they would have initiated the experiment. With its radiant
keyboards, this could have found itself in an IQ epic. It resides
somewhere between the charismatic personas of Peter Gabriel and Phil
Collins. It has the passive hum of Genesis, but keeps closer to the mood
of these head honcho’s solo incarnations. With that said, that only
accounts for half of the pie. The other slice is sheer Jadis. As with
every aspect of the album, Fanatic finds its way into each wedge. All
that aside, they induce many unexploited resources. While I liked
Fanatic a lot, in a way, this demonstrates an evolution beyond that
album. It borrows the best bits and then takes it further by applying a
worthy patch.
I hear your voice – In this song, the drummer is the one who treads
furthest from the path. As he taps the drums in the mode of Gazpacho,
the others follow closely behind his escort. Jowitt and Chandler
complement one another and create exasperatingly brilliant riffs. This
is another great track and if you listen intimately for their
augmentation, it’s another example of their dedication to progress. The
segues and bridges are masterfully integrated by way of a repeated
chorus. Without losing an ounce of inertia, it even works in a short
acoustic solo. That makes a pair of frontrunners that follow
side-by-side like ducks in a row. These tunes could very well save Daffy
or Donald from Elmer Fudd in the event he accidentally saunters into the
wrong cell.
Make me move – They
continue to make it an even race. It’s impossible to tell if it will be
the tortoise or the hare. While it’s obvious each cut’s prepared to
compete against Team Fanatic, they excel far beyond those efforts. This
is similar fare, only better. This combines the funk of Red Hot Chili
Pepper’s with the poetic verses of Genesis. Again, this is instantly
recognizable as Jadis and if you had to guess, you’d deduce these traits
could be found in its recent ancestor. Then again, the material at its
nucleus is certainly nurtured and enriched. The acoustic guitar, female
voice, and Gilmour-like riffs provide subtle pleasantries that are
evenly interspersed throughout this gummy pasty.
Who I am – This is not choreographed by Jackie Chan. It’s neither
destructive nor does it wield an aggressive kick, but it gracefully goes
through an athletic routine. Not sure if this is a compliment or a cut,
but this is the most Fanatical out of the bunch. Chandlers approach to
singing here is haunting. He chants, almost as if he’s talking.
Concordantly, the instruments are complacent and content. They just laze
around between a comforter and a pillowtop mattress. The softener they
use removes static cling from the sheets while the soapy suds leave the
melody fluffy and fresh. It’s not their best shot, but it’s not a bad
attempt either. As it’s undemanding, it’s at odd with my senses. I still
don’t know if this plays better here or on an earlier album. I wouldn’t
classify it as filler, but it’s categorically trite and idler than the
other numbers. Just when you think it’s over and done, it’s agile,
nimble, and evasive. In the outro, it explores challenging caves and
hurdles exigent cliffs.
Need to breathe – I hear a little of Ray Wilson in the opening of this
ballad. Once more, the guitars are the ones falling out of line. Against
the sergeant’s order, they give us belligerence and attitude. As if
following his lead, the keyboards instigate the rest with shrieking
keys. Ever so often, they kick up dust and get a little rowdy. The
patient teacher tries to settle them down, but tries to no avail. It
calms for a mere moment before the urban cowboys in attendance begin to
stew. To make it more symphonic, the keys are pacified with an
invigorating pinch of RPWL. This last ditch acquittal offers reprieve
from the rudiments of KP Mess Hall Duty.
Please open your eyes – This has a lot of embellishment peppered inside
its dough. When you think you’ve got this one gauged, it changes its
angle. The older elements are blurred and obscured through a doughty and
indomitable session with Photoshop. The more interesting elements appear
as accidental minutia if examined from a bird’s eye view. When you take
a closer look with the magnifying glass, you’ll see the logic within its
outline. With that, the bewildering riddle will untangle.
All you’ve ever known – Chandler decides to take his camera out to click
a couple unusual pics. There are numerous newfangled clips rubber-glued
to the discrete sheets of this scrapbook. This is my favorite song off
the album, not only for its originality, but also due to its vibrant
allure and stunning hues. The harmony it portrays, in particular, is
impressive. When the bass and drums finally sneak in, this becomes one
intricate and imposing track. This may very well be their best song
ever, but you need to listen to it in its entirety before passing
judgment. As with any good movie, the payoff at the end makes the whole
event worthwhile. This only goes to support my final hypothesis and
overall assertion. As Alfred Hitchcock or Lex Luger would attest, just
wait until you make it to the unexpected twist!
Photoplay – Like Kino’s Picture, the title track is given the honor of
ending the album. It’s also unlike the other tracks as it’s purely
instrumental. It’s somewhere in the vein of Tony Banks or Eric Johnson.
Chandler’s guitars fly like an eagle and then use their expansive wings
to soar. It sounds eerily similar to the title track off Pain of
Salvation’s Remedy Lane. That too involved ostentatious keys and other
useful tools. They deserve extra credit for building upon the right
answer as here they give us a carefully thought out rebuttal. This will
work best for people who aren’t familiar with the band, but something
tells me it will do just fine with faithful fans. In grand total, if you
liked Fanatic, this one will earn a better mark, especially if you’re
grading on a curve and begrudgingly keeping count.
8.75/10
Reviewer: Josh Turner
: : Visit the Artist’s Website : :
: : Discography : :
More Than Meets The Eye
(1992)
Once Upon A Time (ep 1993)
Across The Water (1994)
Once Or Twice (ep 1996)
Somersault (1997)
As Daylight Fades (1998)
Understand (2000)
Medium Rare (2001)
Alive Outside (2001)
Fanatic (2003)
Photoplay (2006) |
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