Lana Lane has been steadily getting heavier and more power/progressive as time moves on and albums change. Unfortunately its hard to tell the differences between these latest efforts,
"Red Planet Boulevard" seeming much like "Lady McBeth"
that came before it. If you were into that album, then there's not alot of variation here, and this should easily be a keeper on the proverbial symphonic rock shelf. Others, well, it depends on your penchant for female vocalists and more power/prog stuff than some are willing to tolerate. Especially since the word "variation" seems to be lost on these guys, as the album often bogs down under its own self importance and doggedly circling the same themes. Songs start to melt together and its hard to pull them apart at times, unless you seriously get into the disc. Then things become more separated and shine for their individual beauty, but it does take some time.
Lane's voice has been compared to the pipes of Ann Wilson (Heart) which is high praise indeed and is always a pleasure to listen to. She seems best when singing softer material but can also completely blast it in an over the top way that never sounds too operatic (Tarja), or too shrill/breaking point like Edenbridge's vocalist as heard when pushed to her edge. Ultra smooth and at times, hypnotic voice where the vocals seem to have no limits. She's the reason anyone would grab this album, and is the main star attraction. Lana nails it in every imaginable way and makes some of the lesser songs become much more just with her vocal prowess lifting the bar. Married to Eric Norlander has been a blessing in disguise for her career, as he helps with most of her albums, taking the roles of co-writer, producer and keyboardist/bassist. Anyone that has heard Norlander's solo stuff knows that he absolutely adores drawn out instrumental passages that focus on those keyboards, so its no surprise that Lana's solo material is drowning under the synthesizer waves as well. The band has been stripped down to the bare necessities, Norlander handling his parts, Peer Verschuren providing guitars while Ernst Van Ee is behind the drumkit. The trio works well with Lana in the forefront position.
The album is long and often ponderous, but the melody lines are kept to a simplicity that gives the disc a slight edge over "McBeth".
"Shine" rings through the heart with sunshine and sweetness, a feathery Lana floating on a joyful note through swarms of distorted guitars and an upbeat tempo that reflects that heavy glee
. "Stepford, USA" is about that small town where everything is not as calm, collected and perfect as it seems. There's a mysterious, haunted undercurrent here that blends nicely considering the subject. A catchy, punchy chorus drives this one.
"The Frozen Sea" is frosty cold, chunky frozen slabs of guitars pelt down alongside the odd-timed drum rhythm. It is steeped in that gothic chill, Lane's vocals warming the verses in an Evanescence/(current)
Nightwish sound.
"Into the Fire" is a brilliant showcase piece for Lane that matches her soaring vocals perfectly.
"Capture the Sun" is not quite as captivating, but does deliver a hefty dose of power, smashing drums and chugging gallopy guitars.
"Lazy Summer Day" is a breezy, relaxed rock song that's like dandelions being swept up by a fair wind, floating and drifting aimlessly. The drifty 60s vibe is shaken by a rough guitar solo that comes barreling in straight from the modern day hurricane style of music.
"The Sheltering Sorrow" is introspective, wispy and quite pretty in its own remorseful entangled manner.
"Angels and Magicians" is all wizardry and pizzazz, Lana belting verses over the top of shimmering clean guitars and a heavy overall melody. There's a carefree, mystical atmosphere here that recalls Jefferson Airplane or 70s Heart.
"Save the World" is perhaps the most melodic and sees itself being the most accessible and well treated track from the disc. The rhythms, tempo, melody, vocals - just the whole package folds together nicely. Drop a bow on top of this one, because its done and ready to be gifted to the melodic symphonic metal world. Lana's twists and turns on the word
"world" give it fresh meaning anew with each sweeping vocal pass.
"Jessica" harkens back to Lana's earlier days, being soft, balladesque and reflective a'la Lana's first releases that staked more upon atmosphere and emotion than crazy instrumentation. The title track brings closure, giving an eight minute tour of the previous eleven tracks, in an instrumental journey. Interesting to be sure, and Norlander has headed enough songs sans vocals to be able to pull this off in style.
For new listeners, Lana Lane's symphonic progressive power melodic metal/rock release (whew)
"Red Planet Boulevard" is a lofty and daunting disc for newcomers to tackle. Sure, Lana's vocals are wonderful, but the music seems to be a bit too indulgent and instrumental tangents are the name of the game here. It's great to hear her contrasted against such great musicians, but often the songs are too repetitive and lose the listener's attention rather quickly. The tracks are not quite as impressive as material that she has done before, and those that have followed her from those early days will wistfully wish for another "Love is An Illusion", "Garden of the Moon" or even the heavier "Project Shangri-La" here after having little tantalizing snippet tastes of past sounds. Overall,
"Red Planet" is a well crafted and recorded record that is not a highlight for Lane, but another decent, if forgettable, entry to her ever-widening discography. However, you can never claim this album is enjoyable, because there's enough musical meat here to keep you feasting for quite sometime.
Written by
Alanna Monday, February 18, 2008
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