3-LockBox
05-13-2005, 11:38 AM
I've read a lot of hype about this one. This is touted as a modern prog classic. As an album of songs, there are some very good moments here. The writing is clever (a tad too cryptic though) and the musicianship is excellent, and the production is tight. As a conceptual piece, however, it falls flat. It certainly does its job conveying a particular theme and vibe, but as far as the story goes, its way too vague.
It's not that I have anything against depressing lyrics (I love Porcupine Tree)
It's not that I have anything against cryptic lyrics (I love Steely Dan)
It's not that I have anything against obescure lyrics (I love Yes)
But if you're going to put out a 2-CD concept album, or rock opera, you need to at least have some sort of structure or plot (this does revisit certain music passages and lyrics throughout the two CDs, so the term rock opera seems appropriate).
Other theme albums come to mind, like <b>Brave</b> by Marillion, and of course, Pink Floyd's <b>The Wall</b>. Both albums touch on the subjects of abuse and alienation. Both of these provide one important element missing in Subterranea...closure. Its easy to follow the storyline in Brave or The Wall, even though both use literal and cryptic lyrics. They both have a plot, telling the predicament, what possibly put the protagonist in the situation, and what may become of the protagonist after we hear his/her story...closure. Look, The Wall doesn't exactly have an uplifting ending, but the subject does reach some sort of conclusion: to tear down his imaginary, self-protective wall. Now the conclusion in Brave may not be as cut and dried, but the song <i>Made Again</i> does provide a sort life affirming statement; that we don't have to be defined by our past.
The writing in Subterranea is top-notch, and so is the performance, but at 103 minutes stretched over two CDs, its over-long. Yes, the sense of dispair is palpable, and I did get the sense that drugs and homelessness were key elements, as well as disenfranchisement with society and religion, but this gets way over played as every song states this theme with out really exploring it or expanding on it. Its not like I was looking for a happy ending or some sort of retribution for the character, but I think a conclusion is in order for such a long piece. Its comes across like the character feels victimized but then no self-exploration takes place (like the trial in The Wall, when 'Pink' comes to realize "Have I been guilty all this time?"). After 103 minutes, we end up right where we began; there is no enlightenment, there is no discovery, there is no closure. This one could have very easily been pared down to one CD, because how many times do you need to say the same thing. Its a shame, because a better conclusion could have really made this one a winner. Two CDs is a long way to go, just to figure out you've gone nowhere.
It's not that I have anything against depressing lyrics (I love Porcupine Tree)
It's not that I have anything against cryptic lyrics (I love Steely Dan)
It's not that I have anything against obescure lyrics (I love Yes)
But if you're going to put out a 2-CD concept album, or rock opera, you need to at least have some sort of structure or plot (this does revisit certain music passages and lyrics throughout the two CDs, so the term rock opera seems appropriate).
Other theme albums come to mind, like <b>Brave</b> by Marillion, and of course, Pink Floyd's <b>The Wall</b>. Both albums touch on the subjects of abuse and alienation. Both of these provide one important element missing in Subterranea...closure. Its easy to follow the storyline in Brave or The Wall, even though both use literal and cryptic lyrics. They both have a plot, telling the predicament, what possibly put the protagonist in the situation, and what may become of the protagonist after we hear his/her story...closure. Look, The Wall doesn't exactly have an uplifting ending, but the subject does reach some sort of conclusion: to tear down his imaginary, self-protective wall. Now the conclusion in Brave may not be as cut and dried, but the song <i>Made Again</i> does provide a sort life affirming statement; that we don't have to be defined by our past.
The writing in Subterranea is top-notch, and so is the performance, but at 103 minutes stretched over two CDs, its over-long. Yes, the sense of dispair is palpable, and I did get the sense that drugs and homelessness were key elements, as well as disenfranchisement with society and religion, but this gets way over played as every song states this theme with out really exploring it or expanding on it. Its not like I was looking for a happy ending or some sort of retribution for the character, but I think a conclusion is in order for such a long piece. Its comes across like the character feels victimized but then no self-exploration takes place (like the trial in The Wall, when 'Pink' comes to realize "Have I been guilty all this time?"). After 103 minutes, we end up right where we began; there is no enlightenment, there is no discovery, there is no closure. This one could have very easily been pared down to one CD, because how many times do you need to say the same thing. Its a shame, because a better conclusion could have really made this one a winner. Two CDs is a long way to go, just to figure out you've gone nowhere.