To many Hackett is known simply as the early guitarist for Genesis, to others he is one of the most experimental and phenomenal guitarists around. Referred to as the other Steve Howe, Hackett in his post-Genesis days incorporated everything from simple pop/progressive guitar styling to metallic undertones to avant-garde free jazz experimentation, for which he does all of this on his latest effort, "To Watch the Storms." Looking at this album as a complete "Art rock" album, we have to look at the two quintessential "Art Rock" albums that defined the avant-garde acceptance into the whole rock world, the completely psyched out "Trout Mask Replica" (Captain Beefheart) to the other side of the spectrum, the artistic pop statement "White Album" (Beatles), for which this record keeps the perfect balance between the two.
Aligning itself along with Liquid Tension Experiment, John Paul Jones's solo work, as well as Attention Deficit (Alex Skolnick's project), fused along with the free jazz territory and experimentation of Frank Zappa, not to mention progressive prowess of Genesis and Yes; "To Watch the Storms" incorporates Hackett's signature guitar work and vision to create one of his most ambitious works to date.
The guitar work on this album is incorporated along with many other elements such as brass, woodwinds, organs, as well as bizarre percussion. With the opening cut of
"Strutton Ground," with it's classic pseudo-folk of early Genesis, you get the notion that this album might be like some of his earlier work that was more consistent as pop/rock material like his past records such as "Please Don't Touch," but we quickly move away from that within the next cut
"Circus of Becoming" where the title pretty such sums it up with the song's neo-calypso "circus music" backdrop complete with Yes-like interludes and pipe organs.
"The Devil is an Englishman" features an ambient disco beat topped off with cynical narration; while
"Frozen Statues" is completely a piano jazz cut, which does not prepare you for the next completely avant-garde
"Mechanical Bride," which explores free-jazz soloing that Ornette Coleman and John Coltrane might have been too timid to explore.
"Wind, Sand, and Stars" brings Hackett's guitar work to a classical arrangement fugue-like interlude.
But for when it comes to more Hackett standards we have
"This World" and
"Serpentine Song", as well as
"Rebecca" (going from an eased folk piece to a metal conjunction) and
"The Silk Road" (combining eastern rhythms and ambience with Hackett's more Metallic sound) relating to some of his later work.
"The Moon Under Water" is Hackett alone with a classical guitar, twisting the melody with the occasional flamenco elements.
With this record expect the unexpected, not to mention some of the most diverse guitar playing that you have heard in a long time. The album itself is an artistic piece of music that proves that Hackett is one of the most phenomenal and experimental guitarists out there; creating an album that surpasses many progressive projects to date.
Written by
Hashman Monday, August 11, 2003
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