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Freedom To Glide - Fall CD (album) cover


Freedom To Glide

Crossover Prog

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5 stars Wonderful FREEDOM TO GLIDE have come up with a second full-length release that neatly follows on from the critically-acclaimed CD 'Rain'. Totaling over 61 minutes of material, new record is comprised of 13 songs with a plethora of suggestive effects and soundscapes. It gives a truly kaleidoscopic gamut of the F2g's ethos to showcase the ideal combination between authentic Floyd-ism and intelligent rock music, resulting in holistic approach. From the evidence of 'Fall', Pete Riley and Andy Nixon continue to use 'anti-war concept' as the lyrical backbone, and I'm of admiration for this kind of enormous undertaking. The British duo makes people believe that progressive genre could actually give something special! Very few modern groups have managed to do such a feat. OK, let's order... The title track 'Fall' begins with a restrained piano and calm vocal, creating a vibe of dramatic tension. It serves like a good introduction to the enthralling album. Next up, 'Silent Code'. F2g lead us in their vision of a WWII soldier who's returning home from captivity. This composition is dedicated to Andy's grandfather. Musical entourage features a transparent beauty of guitar playing whilst the polished keyboards glide on the background. By surprise, the outro brings a memorabilia of PF legacy ('High Hopes'). Retaining the similar pace, 'Names In The Stone' follows then. Arguably, things get soaring on the fourth tune 'Toll', when awesome guitar licks take the center stage. Coupled with the piano flourishes, graceful harmonies provide an extra dimension for the final section. The next chapter 'Playing God' has the unobtrusive sonic palette. A much more sophisticated piece, 'Exit Wound' comes to incorporate the different characteristics. This serving has experimental nature, eclectic and innovative. The text is about post traumatic stress disorder in the present days... Although there are plenty of excellent themes and melodies on entire album, the composition that stands out for me is superlative 'Enigma' which gradually evolves from a gentle keyboard-line accompanied by heartfelt singing to the captivating musical attraction. Andy Nixon decorates this venture with a mind-blowing guitar performance - it would make even David Gilmour jealous. Successive 'The Middle Game' holds the interest. Compared to what we have heard thus far, 'Trough of War' is something peculiar. It bursts out in livelier tempo. And I think of The Beatles once in a while. Textually, the weapon dealers are accused here. Intended to throw off the intensity of tempo, amazing 'Solace' has a slow pitch which in turn gives way to elegy, 'Sleep Under The Flag'. This time, Pete Riley comes on proscenium, narrating the story about the repatriation of a dead soldier. Again, the keyboard figures are simply impeccable. Appropriated to make the transitions of mood and pace, 'Another Same" resembles a couple of smash-hits together ('More Than Words' by Extreme and 'Wild World' from Mr.Big). But maybe it's just the splash of surrealism in my mind?.. At the core of final track 'October' is a tight mixture of catchy vocals, melodic guitar work, the sustained keyboard chords and driving rhythm section. In proper place, the melodic route transforms to soft pattern, before gradually subsiding and fades away. Now you feel as though you have spent the past hour traveling on a time machine. All in all, immersive, remarkable CD 'Fall' is a high contender for ALBUM OF THE YEAR!..
Report this review (#1598910)
Posted Friday, August 19, 2016 | Review Permalink
Honorary Collaborator
3 stars This album is innocuous and listenable enough but there's nothing here drawing me back. The music is too simplistic and too computer-generated (with agonizingly poor computer sound generations of all strings and synths). M. Nixon is a good guitarist, okay vocalist (VERY similar to ROINE STOLT), fair songwriter in the PINK FLOYD vein, but many of his compositions lack sophistication and high production standards.

1. "Fall" (1:55) nice intro to the album--though it's dynamic extremes give us a misleading feel for the style and pace to follow. (9/10)

2. "Silent Code" (7:19) easily the best song on the album with the best instrumental arrangements and sound engineering plus an excellent, unusual jazzy guitar solo at the end. (9/10)

3. "Names In The Stone" (4:54) sounds EXACLY like a ROINE STOLT composition. (8/10)

4. "Toll" (3:02) nice mostly instrumental song despite poor sound engineering. (8/10)

5. "Playing God" (5:04) a very good song that sounds/feels oddly familiar. NOSOUND? MYSTERY? PT? NINE STONES CLOSE? (9/10)

6. "Exit Wound" (5:38) a nearly-unlistenable opening section is saved by a wonderful middle and end section. (8/10)

7. "Enigma" (8:02) a pleasant piano-based song that sounds a lot like ROINE STOLT--even the Gilmour-like guitar solos. (8/10)

8. "The Middle Game" (7:45) another pleasurable near-prog, mostly Pink Floyd-ish song that proves forgettable. This music is so close to that of TONY PATTERSON's wonderful work on his 2016 release, Equations of Meaning, only lacking something. (Nick Magnus?) (8/10)

9. "Trough Of War" (4:06) an irritable guitar sound opening turns my mood against this one. Unfortunately, nothing much happens to change my mind. (6/10)

10. "Solace" (1:04) pleasant, creepy instrumental interlude. (8/10)

11. "Sleep Under The Flag" (3:14) pretentious poetry reading that you or I could do on our computer. 'Strings' arrangement at the end are the only redeeming factor. (7/10)

12. "Another Same" (3:32) catchy acoustic guitar piece that could fit on any indie rock album. (8/10)

13. "October" (5:43) pure Roger Waters drivel. (7/10)

14. "Exit Wound (Let It Go...)" (5:40) a remake of song #6. I just can't get over that opening section. (8/10) (bonus track)

3.5 to four star record; try it for yourself.

Report this review (#1633500)
Posted Thursday, October 20, 2016 | Review Permalink

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