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Monday, October 17, 2011

Peter Gabriel - New Blood review

Year : 2011
Genre : Orchestral Soft Rock
Label : Real World / Virgin
Origin : UK
Rating : 7.5 / 10

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Peter Gabriel comes out with another cover album, on which Peter Gabriel covers songs by Peter Gabriel, but, in an orchestral fashion, to make Peter Gabriel's catalog even more flamboyant than Peter Gabriel's catalog - with a 2010 orchestral self-cover LP included in it already - is.

This second symphonic burst of self-covers exactly is as exciting as the previous sentence sounded, and that excitement-factor is totally dependent on the individual. New Blood has tremendous drama / rampant self-indulgency going on - depending which direction and mood you are approaching it from and with - and one can imagine that it is as easy to like this album greatly, as is to dismiss it as a repetitious monster length with perfect symphonic background supporting the vocal lamentations of Peter Gabriel. Indeed, some singer chicks are joining in sometimes, but one's voice is pretty stock, and the other one gives me a series of successful nervous breakdowns, and none of them are able to approximate the sheer-, stable character of the sorrowful animal tamely revealed when Peter Gabriel unleashes his famous mixed voice singing skill set. One has the suspicion that Mr. Gabriel felt this album would be highly self-fixated if to contribute his own voice on it, only, and this decision to include stock singing ladies here and there, is mature, I guess. Read on to find out more about this release.

As hinted, and, with its not at all non-ambitious 77 minutes, New Blood is a super-thorough record for what it is, and also one that sounds to address the 3 types of primer moods it has over and over and over and over and over and over and over again. Not much though, if anything is wrong with this scheme, because this release has no intent to rewire your approach towards Peter Gabriel. It is directed mainly for the fans of-, AND for Peter Gabriel. For them, this is exquisite material, offering a muscular angle to scrutinize this body of work from. This stimuli partly registers as a family-safe Walt Disney cartoon score, partly as a statement given to a psychotherapist, and the content always remains lush and rich, because an orchestra with such skilled musicians in it, though COULD go wrong in theory, it does not. The orchestra has totally great peak moments by which no string remains untouched and no brass remains lipless, those are very pleasant to endure.

The special edition of the LP invades your cosmic receptors with two discs, and Peter Gabriel himself must have been supremely satisfied with the work of the orchestra, because the second disc contains instrumental variants of the tracks. Without the singing, the music claims the form and tender rampancy of flawless, powerful cinema music. The same is true with Gabriel's presence on board throughout the first disc, but its function becomes much different when backing a lead up. The orchestra, paired with Gabriel's famous mixed voice gloom register, without doubt produces an intimate listening experience right from the opening minutes, and this solid, trusty, thick, risk-freely predictable sonic grasp is maintained on you all the way if you want that. Amen to that, baby!

Rating : 7.5 / 10

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