The desolate instrumentation, such as the subtle kalimba colouring, which along with the opening guitar pattern sound almost pre-programmed in their endless looping. Phil Collins's hissed tones are expertly set in the middle of this sprawling rain forest of sound; the echo and phaser drenched guitars and African poly-rthymic percussion beat around restlessly around the solemn organ and vocal combo. Then comes the most extraordinary synth solo I have ever heard, Tony Banks hits a dazzling, tumbling flurry of descending, floral synthesizer notes in a bright, sweet Japanese whine, oscillating back and forth in a wishy washy manner. The way the line trickle down like a jungle stream interpreted by electronic circuitry and transcribed as digitised
notes whizzing away into the depths of the night; it's all too 'wanderful'.
The drums take on a barrelling growl like a gorilla grunt, a contrasting backdrop to the tone of the synthesizer, which soars in a sweet lilting way, Oriental like a female Japanese singing voice as it trails off into the virtual jungle. Collins' hi-hat rattles along and Mike Rutherford's original guitar part still bares its own gorilla-esque panting, Tony Banks' wonderful solo part returns for one more run; seesawing and zigzagging away like the
run off of rainwater as it leaks down a huge banana tree leaf, trapped in the midst of a Madagascan everglade. This isn't a gem,its an emerald!
No comments:
Post a Comment