![The World That We Drive Through [Special Edition]](http://images.amazon.com/images/P/B0002ZXCXK.01.TZZZZZZZ.jpg)
| 1. The Winning Game |
| 2. Skipping The Distance |
| 3. Photosynthesis |
| 4. The World We Drive Through |
| 5. A Gap In The Night |
| 6. Exponenzgesetz |
Editorial Reviews
Product Description
The Tangent brings together the UK and Sweden, two nations with a rich heritage of Progressive Rock. British native, Andy Tillison, is joined once again by Roine Stolt, singer, guitarist, and frontman of Sweden’s The Flower Kings, to collaborate as The Tangent. Joined again by fellow Flower Kings members, Jonas Reingold (bass) and Zoltan Csorsz (drums), The Tangent create a sublime mixture of neo-prog and classic Canterbury-style Progressive Rock. The World That We Drive Through features a mix of gorgeous melodies, lush jazz-inflected instrumental passages and virtuoso musicianship. The Tangent is already scheduled to headline the Rights of Spring Festival (ROSfest) in Philadelphia this coming April.
In addition, it's hard to think of a better modern rhythm section than Jonas Reingold and Zoltan Csorsz (also from the Flower Kings alumni). They are tight yet have an edge to the comping sections where the soloists play. The reason I consider this progressive instead of neo-prog is due to the tight arrangements where even Jonas and Zoltan stay in the picture by playing complex, yet perfectly placed fills that punctuate the solos and add meaningful moments within the songs.
Another nice touch are the vocals, which are divided between Tillson and Stolt. Their voices are different, with Roine givng way and singing in a more thoughtful, jazzy tone.
Critics and fans consider this "The Canterbury Scene" subgenre of progressive rock, and while I can see some similarities I must admit that "The Canterbury Scene" generally annoyed me when I was younger, and later in life, still does. It is a fey, seemingly going nowhere kind of music which is not at all what "The World In Which We Drive Through" is like. Arrangements are tight with strong melodic vocals and balanced musical approach of moderate prog rock with substantial jazz leanings. The vocal harmonies are lush as are many of the musical breaks.
Roine Stolt is more of a bluesy player, even in his most progressive moments he sticks to chromatic riffing on his solos. This is a reason why he is a great guitarist. As someone who learned blues before expanding onward, I can vouch that the most important thing you learn in blues is to feel what you play and to solo with a start-middle-end, whether it's short or super long. And if you listen to Stolt, Tillman and Theo Travis, you'll notice that there's not much, if any wasted space, and that the solos sound like a miniature song within a song.
The Winning Game and The World We Drive Through have clever lyrical references and commentary on socieconomics. The basic form for this album, establishing the vocal section, excellent vocals leading into segments featuring several band members playing in ensemble, such as piano and bass in a duet, make for interesting listening before the band either riffs or goes into comp mode for soloing with a nice return to riffing and vocals. Not that all songs follow this form, but to some degree, all of the songs have aspects of it plugged in with choruses and the like.
I appreciate The Tangent and "The World That We Drive Through" because it is complex yet laid back. This is lighter music than we might expect from three Flower Kings, and it shows Roine Stolt in a different role from most of his other projects. He's just another player in an equally matched ensemble and as a result his playing and singing are different, yet quite involving.
Andy Tillson is a killer keyboardist, especially on the piano. His riffing and soloing skills are top notch; easily among the best in the business.
You will like this album depending on how much quieter music and more so jazz interest you. If you are into Canterbury you'll like this album a lot. I think it's miles above most of the Canterbury releases but I admit to a negative bias.
Whatever biases you have, you better be at least a bit open minded, and isn't that the point of progressive? This album gets more interesting with additional listens, so even if it's not your cup of tea, give it some time because it very well might be a favorite once familiar.
The Tangent is part of the same genre as the Mars Volta. Neo-Progressive rock, or simply progressive rock, whatever you decide to call it is fine. Roine Stolt - guitar legend of the Flower Kings - is a preformer with the Tangent, so that automatically assures you the guitars will be flawless, and they are.
The Tangent is a supergroup in the same vein as Transatlantic. And equally as good.
There are six tracks on this album. And five of them are classic prog. Track six, the bonus called 'Exponenzgesitz' is a jazzy, experimental track that I care little for. But it doesn't detract from the album, because after all, it is a bonus track and was added as an afterthought.
Overall, this is easily a step forward from their debut album, 'The Music that Died Alone'. Although one of the best albums of the year, it was full of good songs plagued with repetitiveness and randomness. Any such problems have been taken care of.
On this, 'The World That We Drive Through', you have several long tracks, each different and each amazing. The Winning Game is a very good, jazzy Flower Kings-esque track, and a good start to the album. The second track is one of the highlights, Skipping the Distance, and reminds me of Karmakanic (Jonas Reingold's solo project). Track three is a beautiful piece called Photosynthesis that just builds up. It's beauty cannot be put into words.
Then we get to the climax of the album. The title track is one of the two best tracks on here, with very good lyrics, amazing instrumentals, and is actually catchy. Its the first epic.
The second epic is called A Gap in the Night. It's an 18:00 minute long song, and probably one of the best progressive songs of all time. Every instrument has a chance to shine, and it's simply unbelievable.
I understand this review doesn't answer many questions, but it's difficult to translate this level of perfection to such a flawed language as English.
All I need say is buy it, if you haven't already. Be safe; buy two.
The construction of the compositions themselves has also changed. While The Music That Died Alone had several short tracks that were developed to maximum, this one has only five lengthy compositions with a huge amount of tired and uninspired lengthy solo excursions.
The World That We Drive Through will only appeal to neo-prog lovers of The Flower Kings and the likes. If you don't dig this kind of stuff, stay away and check the debut instead.
While this CD has its moments, there is very little of the majesty that makes the debut effort so appealing. With the all-star cast of musical giants, the listener is not wrong to expect better. There seems to be no unifying theme and the final cut, Exponenzgesetz, sounds completely out of sync with what loose structure there is.
What is the advantage of the Special Edition over the regular release? I don't know, since I have not heard the other, but I suspect in this case its the attractive booklet that accompanies the CD. When the difference in price is slight, or if the special edition is packed with extras, I always opt for it and generally find it to be financially worthwhile and spiritually satisfying.
I can recommend this if you are a hardcore prog fan, but if you were to buy just one Tangent album, I suggest the debut CD or A Place In the Queue instead.
The Tangent brings together the UK and Sweden, two nations with a rich heritage of Progressive Rock. British native, Andy Tillison, is joined once again by Roine Stolt, singer, guitarist, and frontman of Sweden’s The Flower Kings, to collaborate as The Tangent. Joined again by fellow Flower Kings members, Jonas Reingold (bass) and Zoltan Csorsz (drums), The Tangent create a sublime mixture of neo-prog and classic Canterbury-style Progressive Rock. The World That We Drive Through features a mix of gorgeous melodies, lush jazz-inflected instrumental passages and virtuoso musicianship. The Tangent is already scheduled to headline the Rights of Spring Festival (ROSfest) in Philadelphia this coming April.
The World That We Drive Through,The Tangent,Inside Out U.S.,Neo-Prog,Pop,Rock,Rock/Pop
The World That We Drive Through [Special Edition]
Average customer rating: 
|
The World That We Drive Through
The Tangent Manufacturer: Inside Out U.S. ProductGroup: Music Binding: Audio CD  General
| Alternative Rock
| Styles
| Music
General
| Rock
| Styles
| Music
Progressive Rock
| Progressive
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Similar Items:
ASIN: B0002ZXCXK Release Date: 2004-10-12 |
Tracks:
- The Winning Game
- Skipping The Distance
- Photosynthesis
- The World We Drive Through
- A Gap In The Night
- Exponenzgesetz
Album Description
The Tangent brings together the UK and Sweden, two nations with a rich heritage of Progressive Rock. British native, Andy Tillison, is joined once again by Roine Stolt, singer, guitarist, and frontman of Sweden's The Flower Kings, to collaborate as The Tangent. Joined again by fellow Flower Kings members, Jonas Reingold (bass) and Zoltan Csorsz (drums), The Tangent create a sublime mixture of neo-prog and classic Canterbury-style Progressive Rock. The World That We Drive Through features a mix of gorgeous melodies, lush jazz-inflected instrumental passages and virtuoso musicianship. The Tangent is already scheduled to headline the Rights of Spring Festival (ROSfest) in Philadelphia this coming April.Customer Reviews:
one of the best progressive works since the 70's! .......2007-06-26
A disappointing ride for me........2006-07-20
Nostalgia runs wild (in a good way!).......2006-04-25
In addition, it's hard to think of a better modern rhythm section than Jonas Reingold and Zoltan Csorsz (also from the Flower Kings alumni). They are tight yet have an edge to the comping sections where the soloists play. The reason I consider this progressive instead of neo-prog is due to the tight arrangements where even Jonas and Zoltan stay in the picture by playing complex, yet perfectly placed fills that punctuate the solos and add meaningful moments within the songs.
Another nice touch are the vocals, which are divided between Tillson and Stolt. Their voices are different, with Roine givng way and singing in a more thoughtful, jazzy tone.
Critics and fans consider this "The Canterbury Scene" subgenre of progressive rock, and while I can see some similarities I must admit that "The Canterbury Scene" generally annoyed me when I was younger, and later in life, still does. It is a fey, seemingly going nowhere kind of music which is not at all what "The World In Which We Drive Through" is like. Arrangements are tight with strong melodic vocals and balanced musical approach of moderate prog rock with substantial jazz leanings. The vocal harmonies are lush as are many of the musical breaks.
Roine Stolt is more of a bluesy player, even in his most progressive moments he sticks to chromatic riffing on his solos. This is a reason why he is a great guitarist. As someone who learned blues before expanding onward, I can vouch that the most important thing you learn in blues is to feel what you play and to solo with a start-middle-end, whether it's short or super long. And if you listen to Stolt, Tillman and Theo Travis, you'll notice that there's not much, if any wasted space, and that the solos sound like a miniature song within a song.
The Winning Game and The World We Drive Through have clever lyrical references and commentary on socieconomics. The basic form for this album, establishing the vocal section, excellent vocals leading into segments featuring several band members playing in ensemble, such as piano and bass in a duet, make for interesting listening before the band either riffs or goes into comp mode for soloing with a nice return to riffing and vocals. Not that all songs follow this form, but to some degree, all of the songs have aspects of it plugged in with choruses and the like.
I appreciate The Tangent and "The World That We Drive Through" because it is complex yet laid back. This is lighter music than we might expect from three Flower Kings, and it shows Roine Stolt in a different role from most of his other projects. He's just another player in an equally matched ensemble and as a result his playing and singing are different, yet quite involving.
Andy Tillson is a killer keyboardist, especially on the piano. His riffing and soloing skills are top notch; easily among the best in the business.
You will like this album depending on how much quieter music and more so jazz interest you. If you are into Canterbury you'll like this album a lot. I think it's miles above most of the Canterbury releases but I admit to a negative bias.
Whatever biases you have, you better be at least a bit open minded, and isn't that the point of progressive? This album gets more interesting with additional listens, so even if it's not your cup of tea, give it some time because it very well might be a favorite once familiar.
Neo-prog at it's best.......2005-12-04
The Tangent is part of the same genre as the Mars Volta. Neo-Progressive rock, or simply progressive rock, whatever you decide to call it is fine. Roine Stolt - guitar legend of the Flower Kings - is a preformer with the Tangent, so that automatically assures you the guitars will be flawless, and they are.
The Tangent is a supergroup in the same vein as Transatlantic. And equally as good.
There are six tracks on this album. And five of them are classic prog. Track six, the bonus called 'Exponenzgesitz' is a jazzy, experimental track that I care little for. But it doesn't detract from the album, because after all, it is a bonus track and was added as an afterthought.
Overall, this is easily a step forward from their debut album, 'The Music that Died Alone'. Although one of the best albums of the year, it was full of good songs plagued with repetitiveness and randomness. Any such problems have been taken care of.
On this, 'The World That We Drive Through', you have several long tracks, each different and each amazing. The Winning Game is a very good, jazzy Flower Kings-esque track, and a good start to the album. The second track is one of the highlights, Skipping the Distance, and reminds me of Karmakanic (Jonas Reingold's solo project). Track three is a beautiful piece called Photosynthesis that just builds up. It's beauty cannot be put into words.
Then we get to the climax of the album. The title track is one of the two best tracks on here, with very good lyrics, amazing instrumentals, and is actually catchy. Its the first epic.
The second epic is called A Gap in the Night. It's an 18:00 minute long song, and probably one of the best progressive songs of all time. Every instrument has a chance to shine, and it's simply unbelievable.
I understand this review doesn't answer many questions, but it's difficult to translate this level of perfection to such a flawed language as English.
All I need say is buy it, if you haven't already. Be safe; buy two.
typical neo-prog.......2005-10-14
The construction of the compositions themselves has also changed. While The Music That Died Alone had several short tracks that were developed to maximum, this one has only five lengthy compositions with a huge amount of tired and uninspired lengthy solo excursions.
The World That We Drive Through will only appeal to neo-prog lovers of The Flower Kings and the likes. If you don't dig this kind of stuff, stay away and check the debut instead.
Average customer rating: 
|
The World That We Drive Through
The Tangent Manufacturer: Inside Out Germany ProductGroup: Music Binding: Audio CD General
| Rock
| Styles
| Music
Progressive Rock
| Progressive
| Rock
| Styles
| Music
General
| Hard Rock & Metal
| Styles
| Music
ASIN: B0002ZXCZ8 Release Date: 2004-10-11 |
Tracks:
- Winning Game
- Skipping the Distance
- Photosynthesis
- World We Drive Through
- Gap in the Night: The Ante-Room/Time for You/Troubled ...
- Exponenzgesetz [*]
Customer Reviews:
Slightly Disappointing.......2006-12-01
While this CD has its moments, there is very little of the majesty that makes the debut effort so appealing. With the all-star cast of musical giants, the listener is not wrong to expect better. There seems to be no unifying theme and the final cut, Exponenzgesetz, sounds completely out of sync with what loose structure there is.
What is the advantage of the Special Edition over the regular release? I don't know, since I have not heard the other, but I suspect in this case its the attractive booklet that accompanies the CD. When the difference in price is slight, or if the special edition is packed with extras, I always opt for it and generally find it to be financially worthwhile and spiritually satisfying.
I can recommend this if you are a hardcore prog fan, but if you were to buy just one Tangent album, I suggest the debut CD or A Place In the Queue instead.
![The World That We Drive Through [Limited Edition]](http://www.germanelectronics88.com/noimage.gif)
Average customer rating: 
|
The World That We Drive Through [Limited Edition]
Tangent , and The Manufacturer: Inside Out ProductGroup: Music Binding: Audio CD ASIN: B000LX0SLM |
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