11:11

I really don´t understand. Reinaldo Jose, the bass player, songwriter and mastermind behind this band kindly asked me to write a review of their most recent work, 11:11. They even sent me their record and I have been listening to it for several weeks. I had great expectations since I did love their debut (2010s The Gigsaw). The problem here is that their newest release has very little that reminds me of their powerful, varied and eclectic start. Recorded in a period of almost 7 years (2014 to 2021) it is hard to believe that this double concept album had to turned out to be so disappointing. No, it is not bad. It is just sedated: it lacks energy and drive. It´s pleasant enough, it has good melodies, but that´s all. No highlights, no surprises and very little variations.

After repeated listenings I found nice subtle moments that I suppose were to be expected, especially the dual male/female vocals and a few guitar solos, but the songwriting is below par when compared to their other work. I tried very hard to see their point and find why the music here is what it is and ultimately this album failed to capture my imagination. The production really sucks, I get the feeling of hearing something from the 60s, and I find it difficult to believe that this is the same band that gave us The Jigsaw. I understand that a concept album has a storyline that makes the music go to a certain direction and I suppose it makes some sense if you´re following the narrative closely, but to me it still it seems to go on and on with nothing really exciting to make it more palatable. Even long tracks like Do What You Will (over 7 minutes) and Breakthrough Listen (11) are not epics, but simply songs that overstay their welcome.

Conclusion: I really hope this band will come up with something that really does justice to their talent and skill in the future. This one, unfortunately, does not, I´m afraid. I´ll rate it 3 stars for all their work and good melodies, but it should be something between 2 and 2,5 stars.

[Originally published as a mini-review at The Progressive Aspect]

11:11 is the long-awaited follow-up to 2009's The Gigsaw, which is an album I had a great deal of affection for. So when I listened to 11:11 and was rather underwhelmed, I wondered if it were just because my tastes have changed over the intervening years. It had been quite a while since I'd last listened to The Gigsaw, so I put that on to see if it was still as good as I remembered - and it was. It's not that 11:11 is a bad album. It simply doesn't measure up to the far more impressive debut. Of the founding members of Sub Rosa, only Reinaldo Jose was still a member of the band when The Gigsaw was recorded, and only he and Barbara Laranjeira remain from that album for 11:11. And perhaps this is why the album doesn't quite hit the heights of its predecessor. There's certainly nothing wrong with the rhythm section of Jose and Laranjeira, but the keys and guitar don't pull the punch they need to.

Sub Rosa has always been interested in the occult, and the references to it are all over their debut and this new album. In fact, the 22 tracks of 11:11 are matched to the 22 cards of the Major Arcana in a Tarot deck Sub Rosa have designed to accompany the album. But where The Gigsaw had a dark and edgy feel to the keys and guitar, much of 11:11 simply sounds bland and banal. Where The Gigsaw sounded ancient, 11:11 simply sounds retro. What's worst though, for me, is the production. It's just so muddy and muffled, and doesn't allow any of the music to breathe. I fear that perhaps Sub Rosa have paid too much attention to the detail and aesthetics of their Tarot deck than to their music. The Gigsaw is full of details that are only revealed after subsequent listens, so that it is indeed like a jigsaw, as each new piece is found.

The other problem I have is how the album jumps in style from track to track. Presumably this is deliberate, to portray the different aspects of the different cards of the Major Arcana, but it doesn't flow very well to my ears. The Gigsaw was also eclectic in its sounds, but sounded far how cohesive, and the movements between styles was fluid and organic. The differing sounds locked into place to elucidate the greater picture that The Gigsaw ultimately revealed. The sometimes jarring changes between songs work to their detriment. And it's a shame, because some of the songs are really good. I can't help but think that as grand as the concept is, Sub Rosa don't quite pull it off. The album suffers by becoming over-long, and having too many songs that just aren't up to the standard I expect from the band. It pains me to say it, but I probably won't be playing this often. I'll stick to The Gigsaw, which I know and love.