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Peter Gabriel’s latest album, i/o, has been likened to the long-awaited releases of the Beach Boys’ Smile and Guns N’ Roses’ Chinese Democracy. While both of these albums were known for their lengthy production processes, Chinese Democracy’s 15-year gap between albums pales in comparison to the 28 years Gabriel has spent working on i/o.
The production of this album began at the same time as his last original album, Up, in 1995. This was before 70% of the current UK singles Top 10 artists were even born. It was initially planned for release in 2004, two years after Up came out. However, Gabriel has been busy during this time, releasing nine albums – a mix of cover versions and re-recorded songs with an orchestra, a film soundtrack, a collaborative project called Big Blue Ball (started in 1995), three live albums, and two compilations. He has also gone on seven tours, co-founded and sold a digital distribution network, helped launch the international non-governmental organization The Elders, and started up the “brain-on-music entertainment, media, and tech studio” Reverberation and Panopticom. The title track of i/o serves as a jingle for Panopticom – a “universally accessible data globe” created by i/o. This track, which features Brian Eno on synth and session musician Tony Levin on bass, is over five minutes long and has two different mixes by Mark “Spike” Stent and Tchad Blake.
Furthermore, the album has undergone significant changes and transformations over time. It often resembles a deep contemplation on aging, a topic that a seventy-year-old artist has every right to explore. It also showcases Gabriel’s awareness of his own mortality, as he feels trapped in a body that is aging and deteriorating. He also expresses contentment with allowing the younger generation to take center stage on the track “Playing for Time,” and finding peace with his place in the grand scheme of things on the title track. Even when delving into current events, such as religious extremism and the impact of the internet on public discourse, Gabriel does so from the perspective of someone who has experienced much in life. This is evident in lyrics like “Ah, you say you’re something different, but you do it all again,” which convey a sense of weariness. This approach is effective and emotionally moving, but it could not have been achieved at the beginning of Gabriel’s career. This is because he was only 45 years old when he started working on this album.
Composed from sessions held in various countries such as Britain, Italy, South Africa, and Sweden, as well as live performances at the now-closed Canadian arena venue Rexall Place, i/o stands out for not sounding like an album that has been continuously reworked over the course of decades. While carefully thought out, the album still manages to sound fresh as it explores themes that have long interested Gabriel. During the tour promoting the gradual release of i/o’s tracks online – one every full moon – Gabriel also performed his popular hits from 1986’s So. While there may not be any songs as commercially successful as “Sledgehammer” or “Don’t Give Up,” there is a hint of 80s boldness in the horns on “Olive Tree” and a grand, stadium-worthy sound in the title track. Gabriel’s fascination with non-Western music is evident in the smooth rhythm of “This Is Home.” While “And Still” cannot be strictly classified as prog rock, its use of piano, flute, and cello evokes the melancholic mood of early 70s Genesis.
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The album is both dense and rewarding, with thought-provoking themes that go beyond its seemingly simple song titles such as “Live and Let Live” and “Love Can Heal.” Despite the fact that the songs are already available for streaming, the album was intentionally created as a cohesive piece of work to be listened to in its entirety. The flow of the songs is beautifully orchestrated and it’s hard not to wonder if this may be Gabriel’s final album of original material, especially considering the long gap since his last release, Up. One standout track is “Playing for Time,” a ballad that builds to a powerful climax. The lyrics depict Gabriel climbing a hill, much like his solo debut single, but this time he is lost in memories and thoughts of time passing. It would serve as a perfect finale for the album. With its abundance of ideas, one can only hope that i/o won’t be Gabriel’s last creative endeavor.
music
Alexis spent the week listening to music.
Ghost Woman – Yoko
The unbridled energy of this piece includes intense guitar playing reminiscent of The Cramps and Krautrock, with a chaotic and unstructured noise instead of a traditional middle section.
Source: theguardian.com
