So now number 8, after almost 11 years break. Expectations were therefore correspondingly large. To the same time to encourage relaxation: it's done! With fresh sound, a usually very catchy basic rhythm and a much more relaxed approach, the guys have created an album after a long absence, the sorted themselves sonically and musically somewhere between Wounded, Time Lost and Breakfast, peppered with a pinch of 70 / 80s "Yes ".
It is striking that Enchant increasingly rely again on a framework of keyboard sounds. Bill Jenkins solos on this disc not only (again) a wolf, but manages to last in almost Benignus-like manner, to weave a tapestry of sound that carries the songs and gives them an often wonderful airiness (yes, it's old school and I'm actually a guitarist, but I stand on keyboards ;-)).
Ted Leonard's voice is warmer, slightly smoky than in the past. That was already on the last Spock's Beard-disc and like it very much. He is (as most recently 20 years ago at Blueprint) again increased in a pleasant vocal lines rather than vocal acrobatics at any price (do not worry, of course, he omitted not entirely sure). The whole band, especially Sean Flanegan seems to have matured musically, so that the music is very consistent in itself - the men now dominate sometimes the art of omission.
For sound
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First of all: Who is not interested in dynamics, can safely skip this paragraph.
My review refers to the vinyl edition, and the sound, you can not say anything else, fantastic - the momentum is the best of all Enchantalben, vocals and instruments are always clearly differentiated perceptible. Only the recent took place vinyl release of "Blueprint" is equal. Even after hours of intense listening will not occur Ermüdungserscheingen; I enjoyed "TDG" last night at midnight in the dark with headphones, and that was quite an experience.
The CD version (the LP fortunately also came with) falls compared because of pronounced dynamic compression sound unfortunately clear from - that it's better, is not just Steven Wilson again, also the last Spock's Beard album was compared, although not well, then at least not yet quite usable. After all was said about the vindication that the CD version of TDG is quite audible, so no one unholy disaster more like "Tug of War" it was. There is a total of seemingly the last two or three years older. ;-)
Who wants to know exactly the difference can sometimes clarify in the DR Database; I add the individual tracks in the following also simply times the dynamic range values in brackets in (Vinyl / CD).
For Music
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Enough genörgelt because sound is one thing, but the music that much more essential Other. So then times down to business:
1. Circles (DR14 / DR7):
The nearly eight-minute opener about to start fitting with short instrumental intro and very quiet vorgetragenem singing. This shows equal a recurring theme of the entire album and the hallmark of Enchant: beautiful melodies, embedded in technically perfect ProgRock. Thematically the piece of disorientation and the search for the (off) is away from a verfahrenene life - background is likely to be the work-up of the turbulent last years of some of the band members.
Verse and chorus are rousing without stress while listening. In the Bridge Bill Jenkins shows the same then what he has done for the album: marvelously spherical and glorious electronic keyboard sound; to a thrilling rhythm that Ed Platt on bass (the man is a genius, just so on the edge ...) pretending. A gorgeous Keyboard solo brings the first song to the end, which has the same desire made more.
2. Within An Inch (DR12 / DR6):
In my opinion, the weakest song on the album. Why exactly this was here previously released as a teaser, I do not know. Maybe because he so sounds most like you're used to it "Blink of an Eye" and "Tug of War": relatively hard, virtually "in your face", and thus actually just right suitable as first contact with a new album , Still, I'm not really so clear. Doug Ott has processed lyrically here a serious accident he had years ago, really gripping I do not find the implementation unfortunately. The verse drags on a bit then, during the chorus then is a bit faster, but does not catch really. The middle part, however, is great, a quiet, jazzy piano part, followed by a solo that Doug Ott-moderate could hardly.
3. The Great Divide (DR13 / DR7):
Ha! This Neunminüter album ignites really. The whole song is such a deep bow to the "Yes" of the late 70s / early 80s, that one wonders how the guys have managed it without back injury. ;-) But I remember the concert in Bochum many years ago, as Enchant "Tempus Fugit" played, announced by Ted Leonard as one of his all-time favorite songs. It was so happy for him. Perhaps this is also the fact that Doug Ott wrote the bearing reef, when he was 17. Is this by now also been a while ...
In essence, we have: a rocking, beautiful intricate stanza, a beautiful chorus, a beautiful guitar solo, in which Doug Ott relies on a less distorted sound. The guys take a lot of time to build up the song and to finish off again towards the end. The whole work is a paradox: an often almost danceable rhythm, a catchy song, but still a very relaxing thing. Just perfect!
Quote Doug Ott: "Very Yes like in the intro and yet almost Marrilion-esque in the choruses One of the best pieces of music we've ever done in my opinion.." Law has the man - this piece grows with each listening test and is really top notch.
4. All Mixed Up (DR12 / DR7):
Fat guitars, heavy drums - here wander from Enchant short in tough climes. But as in all the songs on this album are deceptive, the first bill. So it does not remain in stubborn thrashing, but the hard "All Mixed Up" -Refrainzeile is targeted. Otherwise, the tape is here again to tempo changes, playing with musical opposites. The guitar solo that Doug Ott conjures here is, then, in fact, to the astonishment - John Petrucci says hello. A short, entertaining song.
5. Transparent Man (DR14 / DR7):
My personal door opener to "The Great Divide". I mean, the first song that got stuck really. Missed me an incredibly pungent catchy, I was all day no longer happening. ;-)
The intro sounds -obacht- to "Prettyzntenuf" "from" Xen ", a quote that made me especially happy. The song itself is almost trendy fall (in the positive sense), it is very intuitive and makes just amazing fun . So much joy have Enchant indeed since Wounded not sprayed. Definitely a candidate for a single if InsideOut have the courage.
6. Life In A Shadow (DR13 / DR7):
And without respite it goes on: this number here sounds stylistically a bit by Ted Leonard's "Way Home" album, if I'm not mistaken, he suddenly plays the solos here also even light bluesy, something thoughtful, then explosively and mids. in the solar plexus - the refrain I could put on endless repeat. Ted Leonard wrote this song: it is probably a matter that his father rebuked him, and the family has let down when Ted was a child. "I've labored most of my life // in the shadow of the memory of your love // now I just have to find my way out // of the shadow of your memory." Very beautiful polyphonic singing by the way, great cinema of Ted Leonard.
7. Deserve To Feel (DR12 / DR6):
The title sounds like a ballad. And consequently the song then begins the contrary to almost prog metal like. :-)
After a few seconds it will indeed melodic again, still holding "Deserve To Feel" an intricate rhythm at. Until the refrain: there is Sean Flanegan (m) is an absolute highlight, because this sounds "Deserve To Feel" actually like a late rediscovered part of the "Blueprint" sessions. This chorus is the best thing I've heard of Enchant for 20 years, at least I find that at the moment in my state of absolute enthusiasm as before. Apart from that you get here everything else on offer, what your heart desires, saying keyboard and guitar solos in the interplay, the finest quality and on a par with "My Ever After".
8. Here And Now (DR13 / DR7):
Ah, Ed Platt. A great bass intro, supported by a wall of sound from Bill Jenkins' keyboard, which opens into Doug Ott's clean sound (tm). A thoughtful, sad song, according to Ted Leonard Vocals. So here we have "the ballad" of the album, including the wonderfully wimmerndem and jaulendem Guitar solo (no one can this as well as Doug Ott), which then merges into an anthemic chorus in 80s style, followed by a peaceful piano part, the , with subtle vocals backed, stylistically - by accident or design? - Could be out of a Marillionalbum the Fish era. This song is opulent, full of feeling, so unrestrainedly corny, in a word, gorgeous. One of those things that you either love or hate - at least he chases a shiver down my spine when you're getting into it. Friends of "Acquaintance" (like me) should in any case have their bright pleasure.
9. Prognostikator (DR12 / DR6):
To finish off the bonus track, which is included only on the Special Edition and the vinyl edition. In this piece, I had little to no expectations: the two predecessors, "Prognosis" and "Progtology", had musically not much to offer and were more pure Techikdemonstrationen, although Ed Platt's bass solo in "Progtology" is among the best, I've heard ever on bass.
Surprisingly, however, it is in "Prognostikator" to an instrumental piece, the song has a structure and is quite audible. After less than five minutes even comes right life to the place and you start involuntarily, mitzuwippen with his foot. The "culprit" is once again Bill Jenkins who ventures with a lively Keyboardriff from behind cover. All in all, far from being my favorite, but it's just even a bonus track, and a thoroughly successful so. The outro is then, however, the finest and most impressive.
Conclusion
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"The Great Divide" is for me the best Enchant album since "A Blueprint of the World". Not only in the first exuberance, but because the guys just things differently and do everything right, compared with the past albums. Songwriting and the overall performance as a band in the foreground. None of the guys has forgotten how to "frickeln" and where it makes sense to show it, but it will come out a row magic trick at Magic Trick no longer in love with; Instead, each receives his room without pushing the other to the wall. As mentioned above: a total of all those involved have a very relaxed and convey mainly enjoy their music. The strength of Enchant, namely melodies that can not get out of my head, here comes disproportionately to bear, while the weakness, namely a slight tendency towards technical self-love, was practically eradicated. I have the album now within three days about twenty times by part (only twice, as I write this review), and with each listening test it grows more and more fond of me. Since probably no more album will reach "Blueprint" (the emotional charge after 20 years simply has an extremely unfair elevated status ;-)), I think Enchant have here actually delivered an album, how it could have been better not.
A strong buy recommendation ie - for Enchantfans anyway, but also for those who are on melodic, technically ansprucsvolle rock music.
