The Alan Parsons Project
Stereotomy

The "project" of Alan Parsons is at its penultimate official work. The partner Eric Woolfson will be present until "Gaudi" in 1987. The subsequent "Freudiana" in 1990 is a gathering of affiliated musicians, where the last traces of his voice can be found, one of the group's calling cards.

"Stereotomy" comes immediately after "Vulture Culture," which is perhaps the least noteworthy work up to that moment. The Project churns out an album every year with clockwork regularity, and this does not always benefit the quality and expectations of the audience, often with very discerning ears. In the schedule of their career, it is unique. In terms of sound and technology.
It seems they have completely emptied the studio of traditional instrumentation, using more modern ones. The recording is impeccably done, recorded for the first time completely digitally. We are in 1985, and Alan Parsons does not want to lag behind. He is still the king of the mixer and the technology applied to arrangements.

The title track is perhaps the best track. Rock sound like few other times, almost progressive. Bairnson's guitar adds spikes and cuts the notes in a cold but effective way. That great drummer Stuart Elliott is the usual human metronome, a guarantee of precision. The powerful and masculine voice of John Miles is the most suitable for the situation, with Woolfson enriching it all in the middle. It's almost impossible not to move at least a limb to the rhythm of this track. "Beaujolais" is a nice, well-rhythmed tune. Nothing more. "Urbania" is instrumental. It begins with the starting of a gasoline engine and the honking of traffic. Quite cold in sounds like the rest of the album. It can be defined as "fusion" in execution, abandoning the sacred 4/4. A bit for connoisseurs. It showcases the musicians of the formation, if ever there was a need.

"Limelight" is sung by Gary Brooker, former Procol Harum. A nice slow song with a somewhat obvious cadence but which sold well. The official single of the work, it became one of the group's evergreen hits. Everyone knows it. Blame it also on the Margherita Ariston washing machine. "In the Real World" is the classic rock of the Project, again with Miles's voice. "Where's the Walrus?" is the other instrumental, very long with further display of synth and electric rock. Great for testing an audio system. It is loved by electronic enthusiasts. Nothing new, but pleasant and powerful.
"Light of the World" is the most inspired with a wonderful intro. The melody is successful, with typical British melancholic emotions. Great piece. Beautiful guitar solo. Dreamlike. "Chinese whispers" is a curious oriental parenthesis with Bairnson's usual acoustic guitar, which immediately gives way to "Stereotomy Two", a perhaps a bit unnecessary reprise. Giving the whole a sensation that it is a concept album with a metropolitan flavor, with less personality than a "Pyramyid."

We have the typical work of the Alan Parsons Project but with technical-aesthetic innovations that slightly renew their music. I give it four stars, precisely for that diversity that distinguishes it. They always do something excellent in every work. Maybe that’s enough.
Joe Cavalli