Alan Parsons
The Time Machine

THE REVIEW

How could Alan Parsons' music be absent from the end-of-millennium event, with such an appropriate title? Another concept with space-time topics. He doesn't want to approach the year 2000 with nothing. It seems like a self-tribute that harks back to the avant-garde recording of Time in 1973 for the Floyd. Sounds like an end of the line, but it won’t be so. Even if it disappoints afterwards. Confusing and overly charged graphic packaging.

The production triad of the '90s with this The Time Machine results diversified with strong identities. Yet maintaining the unmistakable aesthetic copyright. The purely commercial aspect has been set aside. This is not the era of Eye in the Sky. It did what it had to do, certainly consistent. The work does not shock with particular innovations, there's a bit of freshness but it slightly mimics the sound of the period. Opens imperiously with "The Time Machine", an instrumental that's too long but opens everything with authority. A simple riff well beaten with the four semi "Shine on" notes turned differently that dominate. Could not miss... faded... a little speech on the space-time theme by Professor Frank Close. 2 academic minutes. They were fitting and if Parsons gets into it, he does it. Let’s discuss its utility.

Now though, always fading, comes the time to tear one's hair out for all those '80s teens who yelled and fainted at the sound of "Through the Barricades". "Out of the Blue" is interpreted by the good Tony Hadley, soft and velvety as the piece. The basic melody remains the opening one. An astute solution a la "The Wall". "Call up" deals with the theme: calling upon artists and scientists of the past, the world demands them. The lyrics are more interesting than the music, which isn’t much… it recalls other times and does not thrill. And here comes the typical soft ballad "The ignorance is bliss" sung by the noteworthy and good Colin Blunstone. It’s a remake of "Siren Song". No substantial novelties, the voice greatly embellishes the piece. The instrumental "Rubber Universe" always presents the well-packaged little bundle. Tried and tested skill. The heroic "Call of the Wild" offers a beautiful Braveheart-like atmosphere. Sung by Maire Brennan of Clannad. A very successful combination. In the middle, a fantastic change with Bairnson’s guitar and its magic. Stuart Elliott creates a perfect percussive environment. The musical icon of the former Project manages to renew itself right here. Surely this is the album on which the drummer has more space in terms of compositions. "No future in the Past" and "Press rewind" are sisters when it comes to the British-rock connotation with cold and obvious tones. But sharpening the eardrums, one discovers small gems by Bairnson, not flashy but fundamental.

If you're having a bad day and it's raining outside, don’t listen to the beautiful and melancholic "The very last time". A tear can easily escape. Female voice by Beverley Craven. Piano and strings for a "chamber-like" track atmosphere. The true novelty that seemed to herald a brand new future Project is the instrumental and sci-fi "For ago and long Away". Particularly strange but interesting. There isn't a precise melody, it’s for non-trivial ambient enthusiasts. Skillful electronics. Psychedelic. At this point, it could all end here, but two reprises of "The Time Machine" hit you again. The first is useless but the final theme is needed. The second with the audio track taken from the 2nd Austin Powers film, where indeed the Alan Parsons Project is mentioned in a dialogue with Dr. Evil, (Mike Myers). In short... an advertisement.

Ideal score 3.5 stars. I give it 4 for the career. A “pretty good” album that does not change the usual peculiar characteristics of Alan Parsons, in some ways a reheated soup too many times. But he always manages to add some new ingredient to make it digestible. For diehard fans.