Joe Satriani
The Elephants Of Mars

In the spring of 2022, "The Elephant Of Mars," the latest album by American guitarist Joe Satriani, hits the shelves of record stores. The cover, quite different from his usual style, piques curiosity, and once the CD is in the player, one is presented with a work of uneven flow, as it is undoubtedly true that the great Joe delivers good material, played skillfully, but one cannot help but notice a certain inconsistency in the appeal of the tracks.

The opening track "Sahara" isn't bad, but perhaps it's not the most impactful start Satch has ever placed on his albums. The slow piece "Faceless" is good, creating a romantic atmosphere and showing that good pieces can be written even without frantically running up and down the guitar neck. "Blue Foot Groovy" brings us a rather fresh and enjoyable composition, summery and light, just like "Tension And Release," which really has a great groove, with Joe surprisingly moving in a minimalist realm.

"E 104th St NYC 1973" recovers almost nocturnal atmospheres and a theme reminiscent of Santana in some sections, accompanied by a very pleasant rhythmic base, one of my favorite pieces. "Dance Of The Spores" adopts a more lively rhythm and an almost jazzy style (within limits), resulting in one of the most interesting tracks on the CD, with a guitar that plays between speed and effects to create a duel between a waltz (sic!) and an almost fusion rock.

"Night Scene" becomes almost robotic and seems like a lighter version of material from the distant and peculiar "Engines Of Creation"; on an electronic base, we find Joe's guitar painting a fresh and pleasant theme, without missing the temptation of a very cool fusion.

The album closes with "Desolation," another slow piece with an intense feeling and an expansive style. The tracks I haven't mentioned impressed me less, not that they lack some good ideas, but I don't find them particularly compelling.

In conclusion, this album by Joe Satriani stands out from the rest of his discography, mainly due to the space given to less dynamic and frenzied tracks, with a certain attention to atmospheres or some novel solutions. In light of this, perhaps some longtime fans might feel a bit lost, for everyone else, the album certainly deserves one or more listens, but I find it is not among the most effective of the American guitarist. Class, taste, and technique are certainly not lacking, but it is an album with a quieter profile, with the pros and cons we've already highlighted.