LE SACRE DU TRAVAIL

I honestly had never heard a The Tangent album. I know they are somewhat legendary, and they seem rather outspoken about prog rock. I definitely was thrilled to get a chance to review this album, though. The artwork is very sophisticated, so I expected the music to be as well.

I was not disappointed. This is a sprawling album, as it contains movements and two tracks that are about 20 minutes each! This album is certainly ambitious, and I think they achieved their goals for the most part. First, I'll discuss the music, but then I'll discuss the lyrical themes because they are integral to this album.

The music is rather standard eclectic prog. That may seem like an oxymoron, but this album is equal parts neo-prog and symphonic prog, and there is a rather interesting dichotomy between light and dark passages. This can especially be seen in the very innocent symphonic arrangements and flutes that are very classical in nature. They are very earthy in a way, and they often dominate a song for quite some time. Then again, there are some darker, wicked moments that explore the deeper side of the lyrical themes. Instrumentally, I was particularly impressed with the lead guitar work as there are some awesome guitar lines and solos throughout this album. The synth and keys are also impressive, but are used a little more conservatively. I think this may be to get their message across a little more clearly. The vocalist, Andy Tillson, has a unique voice that is quite rough, but somehow soothing and melodic at the same time. Last, but not least, the bassist delivers some truly groovy rhythms that get your foot stomping.

The Tangent has been known for their cynical lyrics for some time, as they have even been known to criticize music in their music. This album has a much grander scale in this regard, for this album is all about our work, careers, and jobs. It is about the grand futility of our every day commutes and journeys toward possessions and status. The album's title is "Le Sacre du Travail", which translates to English as "The Coronation of Work". That is quite meaningful for understanding the lyrics: The Tangent is discussing the worship of work as a means of happiness. I love the very beginning where we hear someone in the future describing the workers of the past, and how they did all these different things to be able to watch a box with pictures, to live in a box called a house, and so on and on. The point, I'm sure you see, is that we work away our lives to do nothing more than cage ourselves. We box ourselves and our thinking into one dimension of existence. Work-->sleep. Work-- >sleep. The great thing is that The Tangent has managed a mass global criticism all while delivering catching choruses, great instrumental passages, and delicate melodies. The album never gets boring, and it never gets pretentious.

I think my only complaint with this album is some of the writing. Some of it does come across as cheesy; such as one part where, while speaking about the fact we can't take our riches with us after we die, Tillson bellows, "Your kids will sell it all on Ebay" a few times in a row. It's as bad as you think it would be. However, the writing is mostly good-to-great, and the overall album contains some great music along with some average-to-good bonus tracks.

Apart from the well-done theme, I'm afraid this album would have been difficult to hear. However, this album is an excellent overall package that delivers thought-provoking refrains with beautiful melodies and symphonic arrangements. This is a tender album that delivers a surprising punch to the gut by way of societal commentary. This a definite listen for any prog rock fan. It is a true accomplishment in terms of scope and gentle melody, and a near masterpiece in terms of theme and composition.

The latest release from The Tangent; 'Le Sacre Du Travail' (The Rite of Work) is in every way a modern Prog Rock classic, from the opening overture to the closing cacophony of traffic chaos and dying notes.

It ticks all the boxes for a true prog production. A grand concept?check Symphonic elements?.check Classical influences?check Set over a number of 'parts'?check Plenty of Hammond organ?.check Epic length songs?.check

And yet, the album is not a retro, far out conceptual dinosaur piece. It speaks clearly to the listener of the modern 21st century ritual of work , the journey in the chaos of the morning rush hour, on to the afternoon, where were are soothed of our tired corporate lives with the friendly radio DJ, dulling us as we queue on the motorway to get home. Closing with the part of the day which highlights our devotion of TV and the shows designed to fill our lives and provide some meaning.

There are various points of related subtext to the piece that dovetail nicely as we travel along. The brainwashing of corporate organisations that take our souls, the acquisition of 'things' to provide our lives with meaning, that ultimately end up being sold online after we die, the slavery to the life of work and paying tax and owning property and the consumption of the world's resources all to make this happen. It sounds bleak, in some ways more so than anything by Roger Waters..(and he can do bleak) only because the piece holds a mirror up for us to view our existence, showing us up like hamsters on a wheel going round and round.

Musically this impressive album matches the potent theme. It features a very impressive collection of musicians whose ability and style compliment and deliver Andy Tillison's work perfectly. Tillison himself provides some of his most impressive performances to date, delivered over a stunningly powerful rhythm section of Gavin Harrison and former band member, Jonas Reingold. Theo Travis has a major part to play with the wind sections taking a greater precedence over this work than any other Tangent work. Another former member Jakko Jakszyk along with Big Big Train's David Longdon provide guitar and vocals which broaden the dimensions of the sound even further than before.

'Le Sacre Du Travail' feels and sounds like the landmark album in Andy Tillison's already superb body of work, a real career high. All the more monumental when you factor in the background of this new album. The past two years since 'Comm' have been a rollercoaster, one that would see most bands derail completely. Against the backdrop of the dissolving of the band and some tough financial conditions, Tillison has endured and produced a polished masterpiece, and I do use that word in its correct fashion. If modern heavy progressive rock, confused as it is, with its metal poisoning running through it is your idea of Prog, then a listen to this album will broaden your horizons in new ways. If you are old enough to remember it all the first time, then this album brings back the highs of the genre and leaves you feeling elated and ready for another listen.

Full marks to the Tangent for this latest offering.

The most complete The Tangent album to date. And, to me, the best one since A Place in the Queue.

I'd almost given up after the last two albums, but I'm very glad I gave this one a chance.

The musicianship is superb, the lyrics are as clever and cynical as ever. (Only Andy Tillison could rhyme 'bird[&*!#]' with 'traverse it'.) It's nice to see Jakko and Jonas back. And Gavin Harrison's drumming is clever and solid, as ever. My only criticism is that I would have liked to hear David Longdon's voice more (Big Big Train). He's got it, so flaunt it!

My personal favourite on the album is the ending of the Third Movement. The Tangent at their emotional best.

If you haven't heard a The Tangent album yet, buy this one first. It's incredible. Well done, Andy and gang!

The Tangent are a band I have always kept a keen eye on. In fact, I have even had a brief history with the band (I was one of the finalists for the solo competition they had for their song 'The Wiki Man' from their last album 'COMM'), so I do know how amazing these guys are and that band leader Andy Tillison is an absolute dude...oh yea, and he is a musical genius.

So, having done everything a band could possibly do (double albums, concept albums, an album with a book, a competition to allow fans to play on the album), Andy Tillison went to his big brain of ideas and decided, 'a musical...that should do it.'

Ok, this album isn't exactly a musical...but it's not far from it. More of a song cycle or suite, split up into 5 parts, the albums concept deals with the...mundane it seems. Oddly enough, these guys have taken what we all see as the norm and have made it a gigantic spectacle. And it works so well, it's almost funny. Actually, come to think of it...it is funny. The lyrical content is definitely one of the most enjoyable parts of the album, because it is very humorous at times. But behind the humour is a brilliantly crafted satire, which only adds to enjoyment, because...it makes you think and stuff. Because the band is more of an ensemble, these guys have had a revolving door of members, and on this album we see some new faces. One of the biggest surprises was the addition of Gavin Harrison on drums, who in my opinion, is probably one of the greatest drummers to have ever lived. Another amazing add to the band was bassist Jonas Reingold, who is no doubt one of the best there is. I actually hope that one day they'll get me to join the band on some useless instrument.

One of the biggest changes is the songwriting style that the band has adapted, and I have to admit, I am glad they have made this change because it works so well. Each main body of work or song, which usually lasts from 12-22 minutes, has within it about 2, 3 or 4 actual songs with instrumental sections interlinking them. In many ways, this reminds me of Neal Morse's style of songwriting, and I have to admit...this type of songwriting always impresses me, especially whenever great catchy chorus' and hooks appear now and then.

The albums biggest highlight is the 22 minute epic 'Morning Journey & Arrival.' One of the real highlights on this song has to be the intro section 'Dawn Over Blubberhouses,' which I could listen to over and over again. The other major focal point has to be 'Bird Shit.' An absolute crazy piece with some great intertwining vocals throughout.

The albums second epic 'Afternoon Malaise' probably has the albums most stand out moments, in the form of a part called 'Steve Wright In The Afternoon.' Really the crux of this piece, it is one of the best and most interesting parts on the album. At times it sounds like a rock song, a prog song, a death metal song and even a musical. A bit of a mixed basket really, but it totally works.

The third epic on the album 'Evening TV', is probably my least favourite moment on it. Now don't get me wrong, I think it's an absolutely amazing way to end this incredible body of work, but I think my disdain towards it is because Andy keeps on saying 'put the kettle on'...and I don't like tea. Weird criticism, but whatever, I stand by it.

In conclusion...this is the best Tangent album. I have been saying that about a lot of bands this year, but this has been an absolutely fabulous year for music, and The Tangent have just made another gem this year. The Tangent for me have always been sailing between the crazy and the too crazy, but they have entertained me for many years. Whenever there first album came out 'The Music That Died Alone' came out, I did say to myself that they would never be able to top it. Now they finally have. This is a must have for any prog fan, and any fan of music would at least marvel at what these guys can do.

8.9/10

he Tangent have certainly come a long way since Andy Tillison decided that he needed another project outside of PO90 and formed this band with Guy Manning and Roine Stolt. Neither are there these days, but he does have Jakko M. Jakszyk (Level 42) on guitar, Theo Travis (Robert Fripp, Gong, Porcupine Tree, Bill Nelson, No-Man, Steven Wilson etc) on sax, flutes and clarinets, Jonas Reingold (The Flower Kings) on bass, Gavin Harrison (King Crimson, Porcupine Tree) on drums and singer David Longdon (Big Big Train) so none of these are slouches. This is a concept album, based on 'The Rite of Work'. There is a narration where it is explained that on this island 50 million people wake up, and an hour later they have to be more than 30 miles away doing something that they don't want to do, so that for a short period of time they can say that they can own a building!

This is a very English prog album, both in music and lyrics. I wonder how many people who have never heard 'Steve Wright in the Afternoon' will understand the reference to factoids, but for someone like me who remembers when Steve was on Radio One (as opposed to Radio Two), all of this just made me smile. Musically it is very diverse, as although obvious reference is "Days of Future Passed" which starts with the beginning of the day and ending with the night, while here we start with the beginning of the day and ending up with "Evening TV" having survived the trip home through the rush hour, there is actually a lot going on as Andy brings in influences and textures from all forms of music. Some of the music is designed to make you think, while at other times it is almost pure pop. It doesn't always hit the mark, but when it does it is both enthralling and exciting.

Many years ago, Andy eked out a living as a sound engineer and was responsible for recording many independent bands at the end of the Seventies, and it is back to this era we go with the punk power pop version of "Hat", which may or may not be from 1979 as stated in the title.

It may not be perfect, but yet again Andy has produced something that is definitely worthy of investigation. If you haven't come across this band before then you owe it to yourself to do so now.

The Tangest's this year record "Le Sacre du Travail(The Rite of Work)" was an exciting experience and an example of good nowadays prog. The group is named Multi-National and features musicians from England and Sweden(perhaps more locations- nowadys it's hard to guess just by the names). The cover is colourful and it's not clear by it, that it's a prog record. I don't like the band's log, but that is not important for the experience. The musicians that make this work are Andy Tillison(composer, vocals, guitars and keyboards), Theo Travis(saxes, flutes and clarinets), David Longdon(vocals), Jakko Jakkszyk(vocals and guitars), Gavin Harrison(drums), Jonas Reingold(bass), Rikard Sjöblom(narration) and Guy Manning(acoustic guitar).

I liked this from the beginning. The band tells a story with precesion and great musicallity. I'm impressed of this modern prog. The rock is spiced by Theo Travis fantastic playing on his woodwind instruments. This record is a lot of rock but it allways blends it with classical approach. Music is partially very symphonic and Tillison's keys leads like Wakeman in his best moments. The record is even and all tracks has it's ups and downs. I think progressive artists in this times overdo long songs, they often have'nt the former skill of the 70s proggers. The Tangent does long tracks and I think they manage it well. For people who have listened to Big Big Train, the vocals of David Longdon can be recognized. He does a better job here than at BBT's last record and the variation made of three singers also developes this music in an interesting way.

What's negative then. Well I don't like bonus tracks so I would have prefered just listen to the first five tracks. Beside that I can't find anything to complain about. I could be silly and argue their logotype but...Perhaps it's not very "new" music, but it doesn't make it less good. Recommended plate! Four stars!

a wonderfully crafted prog album!

Phew! Finally ... I got a chance to write this album from the band where I have been a big fan of it since its debut album which was really wonderful and it was totally in canterbury scene I would say. And now the latest album has been becoming my regular playlist but for some reason I failed to write a review about it. In one sense there has been confusion inside myself as whether or not I give a full five star rating or somewhere about four plus star rating. Well, I have been listening to it in its entirety more then ten spins already by now but yet I have not made any decision until I finally realized there are not so many people have reviewed it .... So have to write it by now and for sure the rating is on four star plus, not just four because this is really very excellent album and very close to perfection.

Musically, I imagine this is like something about or similar to classical movements even though I am not good at enjoying classical music per se. But I would treat my journey in listening to this album is like a classical music piece. It starts wonderfully with a full orchestra piece called as 1st movement: Coming Up on the Hour (Overture) (5:55) which sounds like a playing field by many musicians. But of course the listeners would be aware of the facts that there are plenty of softwares were used to record this opening piece as indicated by its liner notes on its inlay. The overture to me sounds like a masterpiece classical music regardless this is the result of software engineering work - I really don't care. In here, I can sense the beauty of the music as it sounds ...and honestly without reading the liner notes I would not be aware of the use of softwares. So ... congratulations Mr Andy! You have done such a great job on this opening piece.

The next bit is basically an epic in itself with 2nd movement: Morning Journey & Arrival (22:54) where at the beginning it moves very slowly and typical progrockers would not be so patient listening to the long and slow moving piece. But it's not in my case ... I fully enjoy this second track in its fullest from start to the end. But if you are quite patient enough the moves slowly in crescendo with excellent vocal work. There are long keyboard solo combined nicely with nice vocal choirs. It moves nicely to the next bit of track 3 titled as 3rd movement: Afternoon Malaise (19:20) with basically similar structure, starting with an ambient mode. But overall this third movement is as excellent as the 2nd.

I don't intend to elaborate track by track of this album but for sure the tracks featured in five movements are all of theme excellent in its entirety and all of the fives have formed one cohesive whole in terms of music structural integrity. I really admire this band, really!

As all probably have known that The Tangent is basically an ever-evolving lineup of talented musicians led by Andy Tillison. Le Sacre Du Travail which translated from the French means The Rite of Work which basically the story of down-to-earth subject matter: the millions of people who go to work every day. Boring? It's probably they are. But ...life is choices and they don't have the reason to get bored - in my humblest opinion. From the lineup, there is Andy himself, who wrote all of the material, and is featured heavily on keyboards, vocals, and guitar. Other Tangent regulars appearing on the album are Theo Travis playing woodwinds, Jonas Reingold from The Flower Kings on bass, Jakko Jakszyk on guitar, and Guy Manning on acoustic guitar. Gavin Harrison, a newcomer ex Porcupine Tree, plays drums, and David Longdon of Big Big Train contributed some vocals. Rikard Sjoblom of Beardfish does the narration on the first track of the album. In Beardfish's The Void, Andy Tillison did the narration on the first track, and now it seems that Rikard is returning the favor on Le Sacre Du Travail for the Tangent.

Andy explains the liner notes regarding the influences of this album. The most are Igor Stravinsky's The Rite of Spring, as well as Emerson Lake & Palmer's re-imagining of Pictures at an Exhibition. Actually Andy was working on re-writing The Rite of Spring, but was unable to complete the work due to copyright issues and finally made it as Le Sacre Du Travail.

Overall, I would highly recommend to those who claim themselves as progrockers to love this wonderfully crafted album. You should not miss this one at all. It's more than just an excellent progrock album but it also hooks you to the bone, I believe.... Keep on proggin' ...!!!

Peace on earth and mercy mild - GW

Andy Tillison, the brains behind the UK based prog giants The Tangent, is, to me, one of the most fascinating minds in the genre. If you want to know what I mean, read any number of interviews with him in which his responses are often brutally honest, candid, philosophical, or political, with frequent gems of wisdom regarding the prog scene itself; truly among the most fascinating interviewees I've had the chance to come across. All that's fine and dandy, but what about the music? Well, in that area I must confess that this man is quite the artist and has managed to carve out a sound which is firmly planted in his influences but uniquely his as well. That said, I've not necessarily been a fan of 100% of The Tangent's musical output, but they have had a number of albums that knocked my socks off, and I'm not gonna lie, their latest release, Le Sacre Du Travail thoroughly impressed me on all levels, from songwriting to performance, arranging, concept, and lyrics.

Those familiar with Tillison already should know that he has a knack for lyrics and concepts that are extremely well written, down to earth, poignant, witty, and often which let his inner prog geek show. Such is the case with this album. Le Sacre Du Travail, in its essence, unveils (in a most pleasing manner) some of the harsh realities that the proles face as they rise to the daily ritual of work and monontony while employing, as so often The Tangent does, frequent references to information technology ("just look on Google Earth"), a light sci- fi twist, and little snippets of prog culture dropped in here and there ("2112 tatooed on his hand"). Furthermore, to get us into the story, the liner notes give us 5 pages of cleverly written narrative by Andy himself, reminding me very much of the autobiographical fiction style of the wonderful Tangent novella "Not as Good as the Book," and leaving me wanting to read more and more. Although to some the content of this album may come off as a bit political, in my opinion it is a remarkably accurate depiction of the often meaningless nature of what many of us face every day. Kudos to Andy for creating such an enjoyable portrayal of something so mundane as wrenching oneself out of bed and going to work.

Musically speaking, Le Sacre Du Travail is on par with, perhaps even beyond, the best work that he has done, rivaling even The Music That Died Alone. From where I'm sitting, the key to this is twofold: 1) a conscious effort to make a large scale and grandiose piece of art music; 2) putting together a remarkable group of musicians to execute an already majestic vision. At this point it should be no news to most that Tillison's latest effort, subtitled "An Electric Sinfonia," is highly influenced by Stravinsky's "Rite of Spring." This is instantly noticeable from the very start of the album in terms of syncopated rhythms, odd tonalities, and phrasing; the Stravinsky feel is seamlessly woven throughout the length of the album in ways that blend it perfectly with the prog, jazz, and canteburian influences that are staples of The Tangent's signature sound. Three out of five movements are of epic length, clocking in at 23, 19, and 12 minutes respectively, but the fascinating thing about these pieces is that despite their length they maintain a very 'songy' feel, with catchy vocals and choruses, memorable motifs, and all the sort of wonderful solos we're accustomed to with Andy's music. The glue then becomes the classical influences and sections which weave their way throughout the songs beautifully. Speaking of the classical element, Mr. Tillison's liner notes even gives us a fun little look into his love of synths and their unique interpretation of classical sounds that have developed into becoming their own unique element. All in all, the composition throughout the album is top notch, ambitious, and simply fun; a sort of best of both worlds between the elite music snob and the simple man's tune.

As mentioned before, the cast of musicians that The Tangent brings together for this record is key to breathing plentiful life into these pieces. First off, this album marks the return of bass giant Jonas Reingold (TFK, AOM, Karmakanic, etc.), and what a glorious return it is. Andy claims that Jonas' playing here is the best he's heard since Unfold the Future, and I have to give him credit, there may be some truth to that statement, though it's hard to be conclusive when it comes to such a monster of a bass player. Nevertheless, his playing on this album is huge, consistently laying down nice grooves and melodic lines which greatly enhance the pieces. Furthermore, who would've guessed that we'd see Gavin Harrison (Porcupine Tree) on a Tangent album? As always Harrison's drumming is tasteful, complex enough to grab our attention, subdued enough to focus on enhancing the music, and musical enough to remind us that drumming isn't just for keeping the beat. Additionally, Theo Travis' jazzy flutework once again hits the sweetspot, and David Longdon's additional and backing vocals do wonders to enhance Andy's parts, much like Wilmer Waarbroek's voice finely complimented Arjen's on his more or less recent album, Lost in the New Real. All in all, it's a good guarantee: when you put together a brilliant crew of players without a 'too many hands spoil the soup' sort of composing scenario, the results are stunning, as is evident in this case.

In my humble opinion, Andy really outdid himself this time. I came back from listening to such a fantastic album as was Comm with some doubt in my mind as to how the next one would turn out, due to essentially what amounted to be a major split up of the band. Despite that, Le Sacre Du Travail pulled through, showing Tillison's keen hear for composition and sound, creating a whirlwind of synth leads backed by classical sounds which very well make this record a staple in symphonic rock alongside great albums of the past.

For their seventh album, English collective The Tangent, led by one of modern prog's most talented keyboard players Andy Tillison, deliver their most varied, complex and ambitious work to date with 2013's `Le Sacre du Travail', translating to `The Rite of Work'. Anyone familiar with the group will know to expect an eclectic mix of keyboard dominated prog, with plenty of Canterbury Scene jazzy fusion flavours and symphonic themes, and this time around there's plenty of orchestral flourishes to bring just a little sweeping cinematic drama as well. In addition to all the expected colourful instrumental passages, as always Tillison delivers a biting social commentary lyric with his expected weary yet affecting lead vocal, wrapped up together with plenty of strong melodies and surprisingly effective and smooth group harmonies as well.

The dazzling and diverse keyboard player Tillison is joined this time around by a variety of musical guests from several other notable bands, many of them already sharing an involvement with Tangent albums past. The inclusion of regular contributor Jonas Reingold of Swedish symphonic champions The Flower Kings makes this a must-buy instant purchase, and as always the skilled musician delivers a fluid, emotional and subtle performance. Modern Canterbury sound legend Theo Travis offers his always dignified and sprightly sax, flute and clarinet, and both Jakko Jakkszyk of 21st Century Schizoid Band and Guy Manning provide some extra some vocals and guitars. Rikard Sjöblom of Beardfish recites the opening narrated passage, returning the favour that Andy himself delivered on their `The Void' album a few years back. David Longdon of Big Big Train, who have been enjoying a raised status in the modern prog community since their `Underfall Yard' album a few years back, has a memorable extended vocal passage during one of the epics, and Gavin Harrison of the last several Porcupine Tree albums will also likely be a big drawcard here, and he has never sounded so varied, complex and freed.

The album is broken into five movements, mostly of longer, wonderfully self-indulgent blown-out prog epics, but with some shorter interludes and lots of classical elements in between. The main concept deals with the day to day monotonous grind of the lowly worker, and as usual, Tillison's lyrics divert in all different directions and are peppered with witty (and frequently cutting!) observations, poignant reflections and dark deadpan humour, all woven to a low-key science-fiction narrative. Even more admirable is that he places just as much importance on these strong lyrics to go with all the flashy instrumental showing-off, something many more prog bands should keep in mind.

The opening scene-setting narration quickly gives way to a quirky and playful classical overture punctuated with fleeting moments of bombastic ELP/`Pictures at an Exhibition'-like synth pomp, as wistful flute, carefully announcing drumming and restrained electric guitar strains begin to emerge. Memories of the Moody Blues' `Days of Future Pass' ring throughout the early AM start of the workday in the first of two lengthy epics, `Morning Journey and Arrival'. A stark sombre piano gloomily tiptoes behind a weary lamenting vocal from Andy. Gentle tortured electric guitar burns slowly as tense orchestration swells, leading to an aggressive synth outbreak over scornful vocal barking, moving through flighty drumming and delicate sax for a gentle Canterbury Sound trip. Hammond organ purrs and melancholic group vocal sighs over weeping Mellotron defeated by breezy slinking grooves and smoothly pleasing vocal harmonies with cheeky flute - phew! A livelier foot-tapping finale even calls to mind `Grey and Pink'-era Caravan!

After an uneasy almost chamber prog introduction to `Afternoon Malaise', the band heads right back into Canterbury territory with boisterous sax, trilling flute and rip-roaring murmuring bass over jazzy patterings. A dash of early-prog Hammond fire, mellow chilled grooves, more silken harmonies and a dashing Moog solo race to the finish, and a grand synth finale would sound victorious if not for the very bleak lyric! `A Voyage Through Rush-Hour' is a fleeting stirring orchestral break highlighted by dramatic piano that builds in sneaky urgency and jumps up with quick manic bursts like taunting little mental breakdowns! With the dreaded work-day done, `Evening TV' is a little more relaxed and almost joyous, with break-neck synth fanfares, insistent drum rolls and splintering chunky bass grumbles all sounding a little like Yes. Dark introspection and the reality of banality soon creeps in, but it still closes the album in a much more upbeat and excited fashion than expected.

So perhaps Andy still sometimes over-reaches vocally here and there (pretty much a bit of a Tangent trademark by this point!), and `Le Sacre du Travail' is not initially as instantly pleasing on the surface as previous Tangent works, but on repeated listens so much appreciation and admiration starts to grow immensely to deliver a wholly satisfying and intelligent work. This is a sophisticated, thought-provoking and very confident suite of music that will take some time to truly grasp all its many facets, but it's further proof of a group of musicians playing at the top of their game, and an artist in Tillison who only keeps reaching higher with each new work and climbing above every single time.

Four and a half stars.

An orchestral treatise on the work day.

Up there among the Tangent's best albums, Le Sacre du Travail (The Rite of Work) is effectively a single 63-minute-long symphony dedicated to understanding and critiquing the regular work day with which we all have (too much) experience. Starting (and ending) with the ticking of the alarm clock, the five tracks - perhaps better described as 'movements' - that make up this piece take us in roughly chronological order through our predictable daily routine, from being woken by the news on the clock radio, to the daily highway commute, the hours we work for others, the afternoon rush home, our final ability to relax (often by watching TV shows and news), to the preparations for the next day. In doing so, Tillison (who wrote all the words and music), brings together much of his ongoing social critique of the way most of us live, from our concentrations in little boxes far away from work necessitating the burning of tons of fossil fuels so others can profit from our best hours, to the control of communications technologies over our lives. Listening to this, I am always reminded of French scholar Henri Lefebvre's classic book "Critique of Everyday Life". Tillison shares with Lefebvre an attempt to look behind the things we all take for granted, and to see the regular every-day as a form of social control in which we all willingly (albeit often under compulsion) participate. The lyrics, and indeed the music, is intellectual, yet also very authentic. Most of us can easily and instantly identify with it. This is one of the things I have liked about The Tangent and Tillison's writing from the beginning - it makes you think, and identify with it.

In terms of sonic textures, this is the most orchestral of The Tangent albums. There are lots of slower sections dominated by the sounds of oboes, clarinets, flutes, and the like, and many of the pieces/movements are structured around orchestral themes and phrasing. This is not to say that the band doesn't rock at times - with such a great band, there are some really excellent solos here, and the band does get heavy once in a while. But for the most part the music is subdued, orderly, precise. It sounds like it was written as a symphony.

The band here is fairly unique for a Tangent album, and it sounds more like a Tillison solo album with hired hands rather than a band album per se. Jonas Reingold, one of the best contemporary bass players in my opinion, is back here (and would stay for further albums), which is wonderful - he adds so much to the Tangent's music, and Theo Travis is thankfully still here (some great solos, etc). However, despite Luke Machin joining on the previous album ('COMM'), he is not on this album, which is a shame, although Jakko Jakszyk (who now plays with King Crimson) fills in on electric guitar, and of course does an excellent and precise job. The drumming here is handled by Gavin Harrison (from Porcupine Tree, and now King Crimson too), and he does a great job, laying down some great grooves under the solos. Finally, on backing vocals is Big Big Train's David Longdon. A common critique of other Tangent albums is that Tillison's singing is not super accurate. Well, it seems he took those critiques to heart here, as his singing is among the most in tune of any Tangent album, and Longdon's harmonies add a lot to the vocals, and raise them up over the typical Tangent sound. There is really nothing to fault on this album vocally.

Finally, the music here is great. Tillison has come up with some great evocative musical themes, including a repeated triplet-based syncopated pattern that permeates and delimits certain movements, somewhat like (but different from) Holst's work or Pat Metheny's 'This Way Up'. These rhythmic patterned themes are very musical, and do a great job in evoking the rushed feel of getting ready for work, commuting on the highway, etc. And while generally slower and quieter than the typical Tangent album, I think it is also one of the most musical, with virtually no sections that are off-putting. Everything here is very rewarding if you give it the time for multiple listens. Some who prefer really fast, loud and heavy playing may not dig this album as much. But I like to see a long piece developed over a series of movements. And there is a lot of space for great instrumental sections here (unlike, say, Tangent's earlier epic 'In Earnest', which put singing over top of much of that piece). Harrison and Reingold lay down some really excellent rhythms, and there are some fantastic solos by Travis, Tillison and Jakszyk. So, even though I really dig the lyrics, it is the music that for me really shines. The two long epics - the 23-min "Morning Journey and Arrival" and the 19-min "Afternoon Malaise" - are the centrepieces of the album. These are really well-developed, with excellent lyrics and extensive instrumental sections that allow the band to shine. In addition to the main pieces/movements that make up the album proper, there are three bonus tracks. Of these, I really like the live proto-punk "Hat" recorded during Tillison's high-school years. A very nice added bonus.

This is for me one of the strongest Tangent albums. I of course still have some minor critiques. In particular, the final movement (the 12-minute "Evening TV") could have gone further and really blown the roof off with some extended solos and the like (like, say, the finale of Yes' "Tales", etc), but instead plays it safer and feels a bit complacent (perhaps matching the musical vibe to the lyrical message?). It is not bad in any way, but it could have been even better. Because of this, the album does not rate quite as high for me as CD2 of Tangent's double-CD album 'Not as Good as the Book' (of which CD2 I rated 9.3). But 'Sacre' still scores very strongly. On balance, I give this album 9.1 out of 10 on my 10-point scale, which puts it in the 5 PA star "Masterpiece" category. Highly recommended.