Joe Satriani – The Elephants of Mars

The Elephants of Mars, the latest studio album from Joe Satriani, is a departure for the renowned rock guitar instrumentalist insofar as time constraints were removed (due to the pandemic) and the fact he recorded it from a distance with his touring band Kenny Aronoff (drums), Bryan Beller (bass) and Rai Thistlethwayte (keyboards).
The result is a more cohesive, interesting and, in places, experimental release than some of Joe Satriani’s previous albums, as the guitarist himself points out: "I want to show people that an instrumental guitar album can contain far more creative and entertaining elements than I think people are using right now.”
'Sahara' kicks off in promising fashion with some retro Hendrix-esque backwards guitar notes.
The song then settles into a groove which conjures up the title and includes a trademark Joe Satriani melody that grows in intensity (the rhythm section of Kenny Aronoff and Bryan Beller also impress from the off).
The title track, which follows, is a different beast (pun intended) altogether.
Intense and ambitious, there are overlapping riffs and sections which make the song almost orchestral in structure. The intensity drops for the middle 8, which is almost languid in feel, before the number returns to the intensive riffing followed by some impressive, atmospheric keyboards. Great stuff.
‘Faceless’ is a lovely downtempo number that features a short piano introduction before Joe Satriani comes in with one of those mournful melodies at which he excels.
The tension is built as we move towards what you expect to be a howling solo, except Satriani adds a riffing section to build it further before dropping it back towards the main theme, accompanied by a unison keys part.
'Blue Foot Groovy’ is a bluesy-funk workout which initially sounds perfunctory, but Joe Satriani adds layers of guitar textures, including tremolo and flanger, before contributing an impressive wah-wah solo (the guitar wig-out towards the end will keep the aficionados happy).
‘Tension and Release’ is a lesson in dissonance and includes a riff which is quite unsettling (the number, which seems to take its lead from the Zappa playbook, is certainly a departure for Joe Satriani).
The mid-section is more traditional with a lovely repeating guitar figure over which Satriani solos aided and abetted by a pitch-shifter effect. The song returns to the initial dissonant theme via some effective shifts in the rhythm section parts and clever use of space.
The similarly structured ‘Sailing the Seas of Ganymede goes further by hinting at a change in direction towards jazz-rock fusion.
There are some clever ideas at work here and the majority of them work – to reinforce Joe Satriani’s own comments, he and his band have clearly been willing to experiment on this album.
‘Doors of Perception’ has an Eastern feel with the inclusion of Tabla and sixteenth notes picked on the guitar with some bells shaken.
Joe Satriani’s sustained notes and keyboard string sounds lend this number a very cinematic feel, while the B section is augmented by some well-chosen arpeggio parts before a return to the theme is expanded upon.
A shorter number but a highlight.
The title 'E 104th St. NYC 1973' is evoked musically on a loping, funkified piece reminiscent of Juju-era Miles Davis (sans trumpet).
Bryan Beller contributes a short but impressive bass solo before Joe Satriani again takes centre stage with a wah-wah solo, followed by the introduction of another theme. Another impressive, jazz-influenced piece.
‘Pumpin’ opens with a frenetic bass line and guitar melody before being interrupted by a Moog line straight from the 1970s. As the number drops to half-time, it plays out on another impressive Joe Satriani solo.
The result is a more cohesive, interesting and, in places, experimental release than some of Joe Satriani’s previous albums, as the guitarist himself points out: "I want to show people that an instrumental guitar album can contain far more creative and entertaining elements than I think people are using right now.”
'Sahara' kicks off in promising fashion with some retro Hendrix-esque backwards guitar notes.
The song then settles into a groove which conjures up the title and includes a trademark Joe Satriani melody that grows in intensity (the rhythm section of Kenny Aronoff and Bryan Beller also impress from the off).
The title track, which follows, is a different beast (pun intended) altogether.
Intense and ambitious, there are overlapping riffs and sections which make the song almost orchestral in structure. The intensity drops for the middle 8, which is almost languid in feel, before the number returns to the intensive riffing followed by some impressive, atmospheric keyboards. Great stuff.
‘Faceless’ is a lovely downtempo number that features a short piano introduction before Joe Satriani comes in with one of those mournful melodies at which he excels.
The tension is built as we move towards what you expect to be a howling solo, except Satriani adds a riffing section to build it further before dropping it back towards the main theme, accompanied by a unison keys part.
'Blue Foot Groovy’ is a bluesy-funk workout which initially sounds perfunctory, but Joe Satriani adds layers of guitar textures, including tremolo and flanger, before contributing an impressive wah-wah solo (the guitar wig-out towards the end will keep the aficionados happy).
‘Tension and Release’ is a lesson in dissonance and includes a riff which is quite unsettling (the number, which seems to take its lead from the Zappa playbook, is certainly a departure for Joe Satriani).
The mid-section is more traditional with a lovely repeating guitar figure over which Satriani solos aided and abetted by a pitch-shifter effect. The song returns to the initial dissonant theme via some effective shifts in the rhythm section parts and clever use of space.
The similarly structured ‘Sailing the Seas of Ganymede goes further by hinting at a change in direction towards jazz-rock fusion.
There are some clever ideas at work here and the majority of them work – to reinforce Joe Satriani’s own comments, he and his band have clearly been willing to experiment on this album.
‘Doors of Perception’ has an Eastern feel with the inclusion of Tabla and sixteenth notes picked on the guitar with some bells shaken.
Joe Satriani’s sustained notes and keyboard string sounds lend this number a very cinematic feel, while the B section is augmented by some well-chosen arpeggio parts before a return to the theme is expanded upon.
A shorter number but a highlight.
The title 'E 104th St. NYC 1973' is evoked musically on a loping, funkified piece reminiscent of Juju-era Miles Davis (sans trumpet).
Bryan Beller contributes a short but impressive bass solo before Joe Satriani again takes centre stage with a wah-wah solo, followed by the introduction of another theme. Another impressive, jazz-influenced piece.
‘Pumpin’ opens with a frenetic bass line and guitar melody before being interrupted by a Moog line straight from the 1970s. As the number drops to half-time, it plays out on another impressive Joe Satriani solo.
The near six-and-a-half minute ‘Dance of the Spores’ starts with a more traditional (if darker) Satch melody-chorus structure, but soon takes and unexpected turn with Joe Satriani playing outside the box (both melodically and in choice of guitar effects).
We then have a bit of oompah/ circus music (yes, really), before returning to the earlier, melodic theme and a further expansion (the playout of voices over an oompah band is both creepy and inspired).
‘Night Scene’ starts like a sci fi soundtrack before progressing to a sequencer part with guitar arpeggios over the top. An accomplished electric piano solo prefaces the wah-wah themed guitar solo before some nice key changes herald a return to the main theme. Yet another impressive number.
’Through a Mother’s Day Darkly’ has connection to the sci-fi comic-book series Crystal Planet (conceived by Joe Satriani and friend/ fellow musician Ned Evett); the song’s darker, futuristic tones include monologue sections by co-writer Evett while Joe Satriani riffs and solos away manically.
The slow and reflective '22 Memory Lane' includes another satisfying Joe Satriani melody.
The piece also features a nice use of dynamics and a repeating outro refrain played by the band while Satriani quietly solos over the top.
'Desolation,' introduced by a gorgeous string part, is a beautifully arranged duet between Joe Satriani and Rai Thistlethwayte (when Satriani comes in it’s difficult not to be reminded of Jeff Beck).
It's an unexpected yet highly appropriate way to end such a creative album.
A highly accomplished work that bears repeated listening, The Elephants of Mars doesn't contain many Satch rockers but the depth and breadth of the material will surely garner more fans for the stellar, boundary-pushing guitarist that is Joe Satriani.
Nelson McFarlane
FabricationsHQ
We then have a bit of oompah/ circus music (yes, really), before returning to the earlier, melodic theme and a further expansion (the playout of voices over an oompah band is both creepy and inspired).
‘Night Scene’ starts like a sci fi soundtrack before progressing to a sequencer part with guitar arpeggios over the top. An accomplished electric piano solo prefaces the wah-wah themed guitar solo before some nice key changes herald a return to the main theme. Yet another impressive number.
’Through a Mother’s Day Darkly’ has connection to the sci-fi comic-book series Crystal Planet (conceived by Joe Satriani and friend/ fellow musician Ned Evett); the song’s darker, futuristic tones include monologue sections by co-writer Evett while Joe Satriani riffs and solos away manically.
The slow and reflective '22 Memory Lane' includes another satisfying Joe Satriani melody.
The piece also features a nice use of dynamics and a repeating outro refrain played by the band while Satriani quietly solos over the top.
'Desolation,' introduced by a gorgeous string part, is a beautifully arranged duet between Joe Satriani and Rai Thistlethwayte (when Satriani comes in it’s difficult not to be reminded of Jeff Beck).
It's an unexpected yet highly appropriate way to end such a creative album.
A highly accomplished work that bears repeated listening, The Elephants of Mars doesn't contain many Satch rockers but the depth and breadth of the material will surely garner more fans for the stellar, boundary-pushing guitarist that is Joe Satriani.
Nelson McFarlane
FabricationsHQ