Reviews

Record #665: Elliott – Song in the Air (2003)

/ Nathaniel FitzGerald

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As convenient as online shopping has made it to find all the exact records that you’re looking for, perusing a record store can bring gems that you would have otherwise ignored.

Case in point: Song in the Air by Elliott, which I found at Planet Retro in St. Pete while browsing their impressive Punk/Metal section (Kate Bush was in there too, so take “punk/metal” with a grain of salt). Having been tangentially aware of them, I pulled up Spotify and scanned through some of the songs.

What I found was a powerful emo record that gets most of its emotional weight from the intricacy of its songwriting rather than the bombast of its arrangements.

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Record #664: Electric Light Orchestra – TIME (1981)

/ Nathaniel FitzGerald

The 1980s saw a lot of rock and roll stalwarts trading in their electric guitars and drum sets for synthesizers and drum machines. Not even hair metal heroes like Van Halen were safe from the new wave revolution.

Even so, it stung a little harder when Electric Light Orchestra traded in their strings and horns for analog synthesizers.

However, it’d sting a whole lot more if the songs weren’t so damn catchy.

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Record #662: The Angelic Process – Weighing the Souls With Sand (2007)

/ Nathaniel FitzGerald

One of my favorite things about music history is that no matter how deep you dig, there’s always another jewel to discover. As much as I love the ethereal, crushing heaviness of bands like Holy Fawn, Spotlights, Palehorse/Palerider, and the throng of other bands often labeled “doomgaze,” I never heard of the apparent pioneers of that sound until last week.

But once I did, their swan song Weighing the Souls with Sand immediately grabbed me with its rich atmospheres and overwhelming heaviness.

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Record #661 – The Alan Parsons Project – Gaudi (1987)

/ Nathaniel FitzGerald

Until recently, I had held the narrative that the Alan Parsons Project began as a wonderfully ambitious progressive rock outfit that shifted their sites on middle of the road pop rock as their career went on.

If nothing else, acquiring their entirely discography recently completely demolished that narrative. Chiefly, their tenth and final record Gaudi, which might be one of the most ambitious records of their career.

Read more at ayearofvinyl.com #alanparsonsproject #progressiverock #progrock #poprock #symphonicrock #vinyl

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Record #660: The Alan Parsons Project – Stereotomy (1985)

/ Nathaniel FitzGerald / 1 Comment

The deeper I get into The Alan Parson’s Project’s later discography, the more I expect each record to disappoint me. For years, the narrative in my head had been that APP peaked hard with The Eye In the Sky and went downhill fast.

When I put Stereotomy onto my turntable, I expected the bouncing metallic synths to finally signal the Project’s downfall into uninspired new wave pastiche. But to my surprise (and delight), what followed was a record that retained the sophistication of the collective’s finest work while adding more electronic elements to their palette.

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Record #659: The Alan Parsons Project – Vulture Culture (1984)

/ Nathaniel FitzGerald

After The Eye in the Sky, Alan Parsons Project originally intended to release a double album as a follow up. Instead, they split the project into two records: Ammonia Avenue and Vulture Culture, released ten months apart in 1984.

Like its twin, Vulture Culture is another underrated gem, showcasing the Project’s effortless blend of progressive composition and infectious pop hooks.

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Record #658: The Alan Parsons Project – Ammonia Avenue (1984)

/ Nathaniel FitzGerald

For the last decade or so, my understanding of the Alan Parsons Project’s discography was that the collective started strong with two prog rock masterpieces, had a couple uninspired albums in the middle, then had a return to form before dropping the magnificent The Eye In the Sky and hanging up the project.

But after a friend acquired several boxes of (mostly sealed) LPs and dropped them on me to take my pick of, I have since learned that they released four records after what I thought was their swan song. Ammonia Avenue, the first record after Eye, hits more than it misses, even if it’s still overshadowed by the record before it.

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Record #657: The Alan Parsons Project – Eve (1979)

/ Nathaniel FitzGerald

I’ve been a die hard Alan Parsons Project for years. I Robot was one of the first records I purchased, and remains one of my favorites of that era. But as long as I’ve been collecting, I’ve passed up more copies of this record than I have total records in my collection.

The consistent low ratings I’ve seen in comparison to other records in the APP discography—as well as the album art, which was a rare miss by Hipgnosis—assured me there was nothing to miss.

But listening to it now, I realize that even at their worst, the Alan Parsons Project is still more inventive and infectious than most of their peers.

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Record #656: Cult of Luna – A Dawn To Fear (2019)

/ Nathaniel FitzGerald

As difficult as music taxonomy is on its own, metal brings its own challenges. The delineations between the different subgenres get so microscopic that it feels pointless.

For years, I struggled to figure out where exactly sludge metal fits. Many of the bands typically labeled sludge felt more like post metal to me. Others were undeniably doom.

But this record is undeniably sludge: it is thick and heavy, oozing out of the turntable for eighty minutes.

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