Founder of Kerrang Magazine, Dave Reynolds exclaimed, "The best I've heard in ten years." when commenting on this CD. The best of what, we'll never know because that's the most of the quote I've been able to uncover, but even so, that's high praise indeed, we will assume since we don't know what "best" he's talking about. But still I wasn't sure what to expect, but was pleasantly surprised, all things considered, especially in two particular joints but we'll get to that in a bit.
This is no typical Euro
AOR disc, which is what I was personally anticipating and hoping for, that's for sure. Instead we are "treated" (take this as good or bad, depending on the song) to a unique blend of commercial pop, Westcoast, a touch of 80s retro-
AOR throwback, and hi-tech modern production tricks, much like
Silver used on their stunning debut, and then shamefully abandoned on the two follow-ups. The production is exquisitely slick, and most of the songs hit their mark with their flawless smooth vibes and multi-layered vocals that are easy to lose yourself in. Some of the songs are even a little too mainstream poppy for me to get immersed in, but I'm sure others will find this to be more of a plus than a minus.
Spin Gallery is another of Tommy Denander's projects. A few that he has been involved in include Sayit, Talk of the Town, Rainmaker,
Radioactive and Prisoner. He plays all guitar, keyboards and bass on this album and is basically
Spin Gallery's backbone, and despite being the composer, producer and supplying most of the instrumental side of the disc, he denies being an actual member of the band! This is almost laughable because his presence is so overwhelming, one could nearly suffocate on it, but I digress. The album wedged its way onto the Swedish charts and if he still doesn't want to claim to be a member of a band with a disc that's actually charting, that's fine with me. Tommy is a talented individual and knows how to write a slick pop styled album, one spin of this CD is all that's needed for that to become apparent.
Like Brazen Abbot, there are three vocalists involved, Kristoffer Lagerström, Christian Antblad, and Magnus Weidenmo, but unlike Abbot, which reserves a song solely for that particular vocalist,
Spin Gallery might use one, two or even an all-out vocal assault attack of all three. Being a lover of this sort of gimmick, I was absolutely entranced when they begin swapping out verses and blending vocal harmonies on
"Heartache", and it's a shame that the triple threat isn't used more often on the release. Since the CD is actually doing well critically perhaps next time? Antblad is usually the one taking the reins and showboating as the lead but Kristoffer and Magnus get the spotlight shown on them as well, and are not just sentenced to permanent purgatory as the ones singing "those backing vocals".
"Standing Tall" kicks off with a song of the same name that automatically draws comparisons in my head to Aussie popsters Savage Garden. It's the sparse atmosphere, with the more feminine than masculine, glossy vocals and playfully warped keys that give it that first impression. But don't be deceived by these first thirty seconds, because as soon as electric guitar takes flight it morphs into another beast for a few seconds, before the two blend together into a killer mixture. The way a few of the words are dropped reminds me of James LaBrie's utterly depressed performance on the Prozac nation's progressive ballad favorite, Dream Theater's "Space Dye Vest". Yet the chorus explodes into absolute melodic rock bliss topped off by soul stealing guitar that rips with its metallic best. A few of these electric notes pop up during the verses that have more in common with the opening than the chorus or other bits of the song. The hard rock rough n tumble filling concealed inside the pop coating is a cool contrast and wielded with sparkling style.
"Heartache" is perhaps the best tune "Standing Tall" has to offer. The best of literally everything has been blended here into a slice of almost
AOR perfection. The groove is addictively impeccable, with a soaring chorus that glows with 80s stylings. Denander's guitar is rough around the edges, electric coarseness that hardens out the overall presentation while the appearance of all three vocalists in sweet sugary harmony create a delightful trip into the heart of pop influenced rock. Lay on some modern flavored keyboards that swirl in sizzling psychedelic circles and a squealing, pure rock guitar solo and you have the picture of a song that pulls out all the stops and leaves nothing behind.
"Am I Wrong" sports a strong chorus, some ultra smooth sections and vocals that remind of
Valensia sometimes. Very rarely, but there are a few moments when I can't shake that feeling that the singing Dutch piano man is staring holes into the back of my head. Some would call this disposable pop fluff, and that probably sums this one up. Its fun for a few listens but is it going to go down as a classic like material from other, and arguably better bands, will? Most likely not, but it's an average song that just comes at a good point in the album, boosting its quality only by sandwiched association.
"I Still Recall" is a relaxing piece that calls to mind the music played for a vacation commercial that would show something like two lovers holding hands while running on exotic white sandy beaches and other rather romantic picture perfect type getaways. Maybe if he had taken the love interest he is waxing on about losing to one of these beautiful island paradise resorts, he wouldn't have lost her in the first place? The level of lost love obsession is fairly haunting and musically the song echoes this while retaining those pop sensibilities. The chorus vaguely reminds me of Duran Duran's "Rio", you know, the part in the song where it goes
"Her name is Rio and she dances in the sand." Listen deep and listen closely, maybe you can hear it too?
"Satisfied" has that upbeat
Frontline quality in the chorus, which is a plus for any band. The vocals are well done, the icing on the cake if you will, combining for a triple attack in a few key points. The lyrical content is all about love, for those wondering, and I'll go ahead and reveal that the majority of the album deals with this in various forms. Some have complained about it, but those that listen to
AOR in its various incarnations know that it is almost always about love. There are a few points in the song here where they warp out the vocal lead for exaggerated impact, and while this usually gets on my nerves, it somehow fits the breezy structure of this track that nips right on commercial pop's heels.
"Waiting In My Dreams" is a cover of a Mr. Mister song that was never released, but then again, since it never saw the light of day (along with the rest of the band's would-have-been fourth album, "Pull") no one would know it. It's certainly no "On Broken Wings" (you know, Mr. Mister's smash 80s hit) but it follows along the same lines and is delivered nicely by these guys, right down to the caressingly vacant guitar solo, which in its briefness reminds of Reb Beach, for some reason.
Other notables include,
"No Looking Back" which sees the return of the guitar uncaged, growling menacingly at the sugary vocals and melodically oozing chorus. A little repetitive, but who cares when the pieces of the musical puzzle fit together this tightly?
"Living Without Lovin'" is not your typical track, with some downright funky instrumental sections, brief they may be, but their impact is not lost, which is overall more technical than anything else on the album. The chorus is the stuff silk is made of.
"To Hell and Back" is unremarkable but catchy nonetheless. Its puffy fluff that makes great background music.
Finally the three ballads:
"My Heart" is a rather simplistic one, lots of acoustic guitar that's a little more chingy than I can usually stomach, and the percussion follows along the same lines. While not bad, its one of those tracks that you will either take it or leave it, depending on your personal preferences, I choose to leave it for now, but maybe in the future I could warm up to it. Highly doubtful however, since it is just too passive with no real climax or emotional growth.
"Need to Be Free" is a lazy laid-back track that comes to grips with its country/western-pop roots and struggles to set itself free from these homegrown basics. Light easy listening pap that is especially enjoyable when some of those weird warpy sound effects are used to spice it up.
"Grace" is much better, and the album's closer. It resonates with a coldness that grips the heart and freezes it to the core. Lush keyboards create an even chillier atmosphere, along with the sparse percussion and sorrow-tinged vocals. I realize this is the third time the song has emerged. Once with Denander's
Radioactive, secondly as an instrumental on a compilation CD, and now as an even more delicate and radio friendly creation. They say third time's the charm, and this holds true for this little gem.
This CD suffers from something that plagues more individuals than just busty Pamela Anderson and porn princess Jenna Jameson - its top heavy. Its so top heavy, I'm afraid if you were to stand the CD up it would just fall right over. The disc starts out robust and strong, with two really killer openers, and a couple of others that attempt to carry on that originally steadfast burning flame that starts to fade as the music marches on. Perhaps it's the nature of the disc itself and a test of endurance, just how many overblown pop songs sprouting mutated musical limbs that squeak like Westcoast, can you take before it all starts to sound similar, especially when the rest lack the modern punch and delightfully contrasting vibes of
"Heartache" or
"Standing Tall"?
I prefer my music just a little more 'on the rocks', but it is still pretty evident that the creative wad was blown right at the beginning and leaves the middle to ending of the disc a bit on the repetitive and shallow side with some brief sparklers inbetween. Boosting
Spin Gallery's status though is the exceptional packaged presentation, the fact that everything flows so well, the performances are as tight as the pristine production, and the majority of the songs are well written, you can tell they are from the pen of an experienced songwriter.
Spin Gallery's debut is very good overall, exceptional in places, and thoroughly enjoyable when nibbled in bits and pieces, but it will be only time that can tell if the disc will still be "Standing Tall" in a couple of years.
Written by
Alanna Friday, April 23, 2004
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