Again we are dealing with a multi-instrumentalist who released an album, but fortunately Johan Steensland has been wise enough to involve a number of guest musicians as well. This often ensures better results and more variety. Steensland is a purified musician and comes from the prog-minded environment of Uppsala in Sweden and has quite a bit of experience with various music styles. In principle, he plays all instruments on Crossfade himself but adds some guitar, drums and bass parts from others to some tracks. We are dealing with a concept album about a turbulent breakup and its consequences. The main characters Linda and Joseph are portrayed by Jennifer Anderson and Steensland himself who, according to the information provided, has spent more than 5000 hours of practice, perfecting his vocal abilities. So that's promising. Divided over 14 songs, which are never very long, the story is poured out over us listeners in 54 minutes. The instrumental intro immediately shows that we have to take Steensland's playing technique seriously, on all instruments, because he whirls over the keys and puts down an impressive piece of music. In Joseph's Dream we hear a jazzy bass loop before we can enjoy the results of the 5000 hours of practice. That doesn't sound bad and Anderson's somewhat biting voice is also nice to hear, yet the song doesn't do much for me and I think that's because of the somewhat meaningless melody. But when The Doorbell sounds, we very quickly end up in a vocal duel and it becomes clear that the two characters have something to fight about and Joseph in particular is under fire. The vocal lines are not always easy on the ear and a musical (as in the artform) feeling creeps up on me. The music is reminiscent of Kayak and Alan Parsons Project but not quite of that quality. When Joseph also sings I'm all to blame, it is clear that Steensland is doing his very best to convince vocally. That doesn't quite work for me and the echo of his voice even gets on my nerves a bit. Musically, not too much happens in this song. When Linda's Decision starts with a staccato rhythm, Anderson shows that her voice is much more beautiful when she sings a bit laid back. She really has a musical type of voice that reminds me of Cindy Oudshoorn who took care of part of the vocals in Dutch Kayak for a long time, but not quite of that quality. Hey, that's the second time I've written this. Suddenly we hear a fiery guitar solo and it turns out to be by Anton Lindsjö and that's what I mean, it sounds nice and different. The short Unforgiving Light has a somewhat circus-like feel and flows into the also ultra-short Do You Love Me? where Owe Erikson's fretless bass stands out. You could see these short tracks as the prelude to Stay! and this orchestral song contains some vocals that are a bit over the edge for me but that others might enjoy. This plea from Joseph with a message that may be clear is delivered with a lot of drama and once again increases the musical feeling. I miss the balance between music and vocals a bit, so little happens. I long for a nice piece of rock or a few nice solos every time and the next chance we get is Odd Times. And indeed we get a little more excitement, although that is not exactly the right word, but there is a bit more to experience musically. In The Inner Voice Of Sense, Joseph comes to the conclusion that he has to do some soul searching and gets some help from Linda. The slightly jazzy vibe is enhanced by the choice of keyboard sound and the bass playing also makes a contribution. In the minute that Awakening lasts we hear floating keys with some quiet guitar pinging and this song is more of an intro to That Man isn't me. This is reminiscent of Peter Gabriel but not quite..... I think you understand. Here too the guitar solo stands out and when we check who plays it, it is indeed Lindsjö who stirs things up. Linda and Joseph come to the conclusion in We Thought It Was Love that Joseph's gentle character has led to mixed feelings with Linda, but that their love once felt magical. Again a vocally dominated song with little impact and variation musically. That also seems to apply to closing track I Am Me, which is the longest song on the album at six minutes. Joseph comes to the inevitable conclusion that he has done everything he could but ultimately must stay true to himself in order to find happiness again. And then it suddenly turns out that Steensland has created a very nice finale of the song and thus the album, all played by himself. How I would have liked to hear more music like this. All good intentions are audible and the music is fine, but for me it remains too shallow really. The abundant vocals don't do the balance of the album any good and it sounds like Steensland has tried too hard to tell the story in detail. For a next album, a little less musical vibe and a little more musical variation please. One feels that it is possible. ***- Erik Fraanje (edited by Tracy van Os van den Abeelen) Where to buy? |
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