Jane Getter Premonition - Division World
With previous studio album Anomalia, multi-styled guitarist, singer, and composer Jane Getter (prog, rock, jazz, singer-songwriter, and metal are all part of the Getter package) and Premonition delivered their most ambitious album to date, one that sat firmly in King Crimson and Porcupine Tree/ earlier Steven Wilson territory (the musically grey area between jazz and rock).
This time around, with Division World, there’s a slight shift in emphasis – the album is more song-orientated, with lyrics that reflect on the recent pandemic and the divisiveness we see in the world today (hence the album’s title).
Nor does it hurt that Jane Getter’s Premonition are a seriously talented band; alongside Getter are keyboardist Adam Holzman (Steven Wilson Band, Miles Davis), guitarist Alex Skolnick (Testament), bassist & singer Paul Frazier and drummer Gene Lake.
(Randy McStine also guests on vocals on three tracks, taking lead on one).
That musical & lyrical shift is evident right from the off with a title track that expertly blends the melange of styles described above, accompanied by a lyric on the current state of global affairs ("The divide is getting wider... The words are getting darker… the beliefs are further apart").
There is an underlying, delicate approach to Getter’s song writing here, with echoes of Joni Mitchell; contrast however is provded via impressive instrumental passages, where Adam Holtzman and Jane Getter take solo spots which dazzle.
This time around, with Division World, there’s a slight shift in emphasis – the album is more song-orientated, with lyrics that reflect on the recent pandemic and the divisiveness we see in the world today (hence the album’s title).
Nor does it hurt that Jane Getter’s Premonition are a seriously talented band; alongside Getter are keyboardist Adam Holzman (Steven Wilson Band, Miles Davis), guitarist Alex Skolnick (Testament), bassist & singer Paul Frazier and drummer Gene Lake.
(Randy McStine also guests on vocals on three tracks, taking lead on one).
That musical & lyrical shift is evident right from the off with a title track that expertly blends the melange of styles described above, accompanied by a lyric on the current state of global affairs ("The divide is getting wider... The words are getting darker… the beliefs are further apart").
There is an underlying, delicate approach to Getter’s song writing here, with echoes of Joni Mitchell; contrast however is provded via impressive instrumental passages, where Adam Holtzman and Jane Getter take solo spots which dazzle.
The moodier 'Dissipate,' with its interesting time signature, bass part and an insistent guitar figure, inhabits Porcupine Tree territory (that Jane Getter’s vocal is intermittently given an effect treatment increases the Steven Wilson reference).
Alex Skolnick delivers a trademark dissonant solo that adds to the feeling of unease, before the number returns to its Porcupine-prog template.
'The Spark' is equally impressive with more Joni Mitchell meets prog similarities (no bad thing).
Paul Frazier contributes an impressive bass part to this laid-back number, which features Adam Holzman on piano and a tasteful guitar solo on the fuller sounding outro.
Instrumental track 'The Compass' (pointing perhaps to just where are we headed?), veers into jazz/ rock/ fusion territory. However, while very well composed and expertly performed, it sits slightly incongruously against the previous numbers, and what follows.
(Whether it works as an interesting change-up or detrimental to the flow and cohesion of the album will be in the ears of each listener).
'End The Blame' returns to the down-tempo, prog-influenced mood and vibe of the album, with Jane Getter’s impressively soulful vocal delivering a heartfelt lyric ("It’s been a long time, since we have felt in line; our hearts have been in pain, the hopes to end the blame").
'Layers' mixes unusual time signatures with some impressive vocal harmonies (especially in the break down). The keyboard-orientated instrumental passages of the number are accompanied by some subtle guitar lines before another restrained guitar solo is delivered to play out the song, along with some effected vocal lines.
The weightier 'Devolution' features off-kilter, but intelligently conceived, rhythm section parts.
The repeating guitar figure pedalling under the rhythm section (a device used to great effect by Porcupine Tree) is equally effective here, as are the traded solos between Jane Getter and Alex Skolnick toward the end of the song.
'Another Way' is a more experimental song which utilises a lot of studio effects (if there’s an inspiration or influence for this number, it would probably be later-era King Crimson).
It doesn’t quite catch the heights of what has come before, but it carries an impressive and purposeful chorus.
The more down tempo 'Mixed Up' features a lovely chord sequence and melody line (Adam Holzman’s short Moog solo toward the end of the number has the ghost of Keith Emerson all over it) while 'Rewind Regain,' another down tempo number that shifts to a powerful conclusion, is a further example of a Prog Joni Mitchell. (Imagine the Jaco/ jazz influenced Mitchell albums with improved technology).
The melancholic and string backed 'Waiting For The Light' closes out the album with Randy Stine taking lead vocal duties (other guest players on the song include Russell Holzman on drums).
The song is skilfully built towards the cadence of the chorus section, with the band’s sense of dynamics to the fore (as is the case throughout); a nod too for the production, which is exemplary.
Division World is another very impressive album from the Jane Getter Premonition; it offers intelligent lyricism and a musical canvas that should appeal to prog fans at the gentler end of the spectrum.
Nelson McFarlane & Ross Muir
FabricationsHQ
The moodier 'Dissipate,' with its interesting time signature, bass part and an insistent guitar figure, inhabits Porcupine Tree territory (that Jane Getter’s vocal is intermittently given an effect treatment increases the Steven Wilson reference).
Alex Skolnick delivers a trademark dissonant solo that adds to the feeling of unease, before the number returns to its Porcupine-prog template.
'The Spark' is equally impressive with more Joni Mitchell meets prog similarities (no bad thing).
Paul Frazier contributes an impressive bass part to this laid-back number, which features Adam Holzman on piano and a tasteful guitar solo on the fuller sounding outro.
Instrumental track 'The Compass' (pointing perhaps to just where are we headed?), veers into jazz/ rock/ fusion territory. However, while very well composed and expertly performed, it sits slightly incongruously against the previous numbers, and what follows.
(Whether it works as an interesting change-up or detrimental to the flow and cohesion of the album will be in the ears of each listener).
'End The Blame' returns to the down-tempo, prog-influenced mood and vibe of the album, with Jane Getter’s impressively soulful vocal delivering a heartfelt lyric ("It’s been a long time, since we have felt in line; our hearts have been in pain, the hopes to end the blame").
'Layers' mixes unusual time signatures with some impressive vocal harmonies (especially in the break down). The keyboard-orientated instrumental passages of the number are accompanied by some subtle guitar lines before another restrained guitar solo is delivered to play out the song, along with some effected vocal lines.
The weightier 'Devolution' features off-kilter, but intelligently conceived, rhythm section parts.
The repeating guitar figure pedalling under the rhythm section (a device used to great effect by Porcupine Tree) is equally effective here, as are the traded solos between Jane Getter and Alex Skolnick toward the end of the song.
'Another Way' is a more experimental song which utilises a lot of studio effects (if there’s an inspiration or influence for this number, it would probably be later-era King Crimson).
It doesn’t quite catch the heights of what has come before, but it carries an impressive and purposeful chorus.
The more down tempo 'Mixed Up' features a lovely chord sequence and melody line (Adam Holzman’s short Moog solo toward the end of the number has the ghost of Keith Emerson all over it) while 'Rewind Regain,' another down tempo number that shifts to a powerful conclusion, is a further example of a Prog Joni Mitchell. (Imagine the Jaco/ jazz influenced Mitchell albums with improved technology).
The melancholic and string backed 'Waiting For The Light' closes out the album with Randy Stine taking lead vocal duties (other guest players on the song include Russell Holzman on drums).
The song is skilfully built towards the cadence of the chorus section, with the band’s sense of dynamics to the fore (as is the case throughout); a nod too for the production, which is exemplary.
Division World is another very impressive album from the Jane Getter Premonition; it offers intelligent lyricism and a musical canvas that should appeal to prog fans at the gentler end of the spectrum.
Nelson McFarlane & Ross Muir
FabricationsHQ