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"How to integrate the guitar in all its forms in a symphonic orchestra? Steve Hackett brilliantly answers this question with "Surrender of Silence", which also revives the disturbing atmospheres of his debut."
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4/5
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"Surrender of Silence", Steve Hackett's twenty-eighth studio album... But what else can we say after 27 albums? Steve's eclecticism has allowed him to visit all the universes within his reach: the para-Genesian progressive of his first album "Voyage of The Acolyte", the emphasis on the electric guitar in "Spectral Mornings" or "Defector", the acoustic guitar alone ("Momentum") or with orchestral sounds ("Under a Mediterranean Sky"), the pop ("Cured") and of course the faithful revisiting of the works of Genesis ("Genesis Revisited"), like the good guardian of the temple that he is.
What marked the listener in the first productions of Steve Hackett was not so much the progressive character, clearly predictable considering the pedigree of the composer, but the darkly disturbing character of the tracks, particularly marked in his second album "Please Don't Touch". "Surrender of Silence" revives this spirit, but with a much more marked orchestral coloration, which owes much to the complicity between Steve and his current keyboardist, Roger King. The purpose of the album seems to be "how to integrate the guitar in all its forms in a symphonic orchestra".
Successful bet: the alchemy operates most of the time, and Steve does not forget the notion of travel, as much in the proposed universes as in the evoked countries. The symphonic presence is sometimes very dominant, as witnessed by 'Natalia' which evokes Prokofiev, Tchaikovsky and Carl Orff. Steve uses the contrasts with relevance ('Relaxation Music for Sharks', 'Head In The Shadows') and takes us to distant lands, playing on the world atmospheres that he likes: heading for Africa with 'Wingbeats' and travel and disorientation guaranteed with the excellent 'Shanghai to Samarkand' (magnificent violin intro).
Unexpectedly in an album of Steve Hackett, it is not the guitar that constantly holds the star (except on 'Head In The Shadows' and 'Fox's Tango'), but the way in which the instrument is integrated in a larger whole. There are some clumsinesses in this beautiful set, with a very conventional slow 'Scorched Earth', or the treatment of the chorus in 'Wingbeats', very out of place with the wild background of the song, without counting the inevitable 'Esperanza' with the super-classical guitar which, if it would have found its natural place in "Under a Mediterranean Sky", has nothing to do here.
Finally yes, Steve Hackett still has things to say... and he proves it with this opus which gathers his love for the guitar and the travels in changing atmospheres which remind his fans of all that he could compose. A beautiful work of synthesis, in short. - Official website
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TRACK LISTING:
01. The Obliterati
02. Natalia
03. Relaxation Music For Sharks
04. Wingbeats
05. The Devil’s Cathedral
06. Held In The Shadows
07. Shanghai To Samarkand
08. Fox’s Tango
09. Day Of The Dead
10. Scorched Earth
11. Esperanza
LINEUP:
Craig Blundell: Batterie
Jonas Reingold: Basse
Rob Townsend: Saxophone, Clarinette
Roger King: Claviers
Steve Hackett: Chant / Guitares / Charango, Oud
Amanda Lehmann: Chant / Invité
Christine Towsnend: Invité / Violon
Durga Mcbroom: Chant / Invité
Lorelei Mcbroom: Chant / Invité
Malik Mansurov: Invité / Tar
Nad Sylvan: Chant / Invité
Nick D’Virgilio: Batterie / Invité
Phil Ehart: Batterie / Invité
Ubaidulloev Sodikhorn: Invité / Dutar
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(0) MIND(S) FROM OUR READERS
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Top of the page
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(2) COMMENT(S)
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READERS
2/5 (1 view(s))
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STAFF:
3.2/5 (5 view(s))
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IN RELATION WITH STEVE HACKETT
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OTHER REVIEWS
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OTHER(S) REVIEWS ABOUT STEVE HACKETT
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