HOW TO MEASURE A PLANET ?

Disc 1 (53:50) 1. "Frail (Might as Well Be Me)" (5:04) What a voice! What great atmosphere. (9/10)

2. "Great Ocean Road" (6:20) the heavier, if more straightforward side of The Gathering, Anneke's voice is buried a little in the mix, but the heavy instruments and great chord progressions keep the listener's attention well. (8.75/10)

3. "Rescue Me" (6:22) slow and spacious, Anneke's gorgeous voice has no trouble filling. Again the instruments when they build up begin to bury the vocals. There is nothing very special to this music until the crashing walls of sound and screaming synth solo take over at the halfway point. Here is an example of a fair song made much better by its instrumental passage. (8.67/10)

4. "My Electricity" (3:33) How can they keep settling for two chord simplicity? Yes, it works as a vehicle for such and extraordinary vocalist, but I think the average prog lover is hoping for a bit more. Excellent chorus section with Anneke's voice multiplied. Another stellar vocal. (8.75/10)

5. "Liberty Bell" (6:01) a sparse, spacious guitar-led opening starts out as a slow, plodding vehicle for Anneke's vocal acrobatics (with a rare BEATLES-esque treatment of her voice). The band kicks into a different gear at the 1:00 mark (for the chorus). Back down for the second verse, and then up again for the second chorus. (8.67/10)

6. "Red is a Slow Colour" (6:26) Great music, great lyric, great vocal, great variation, great bridges, great chorus, great solos, great use of instrumental passage--with awesome "orchestra" contributions--just an awesome song. Another top three song. (9.5/10)

7. "The Big Sleep" (5:01) one of the best Gathering songs of all-time and a classic Anneke song. (10/10)

8. "Marooned" (5:56) a standard first half with some nice effects playing out on the electrified instruments. Guitar and vibes take over at the halfway point--over which Anneke eventually continues singing. 'trons and drums rejoin and Anneke's voice gets multiplied. This is better. (8.67/10)

9. "Travel" (9:07) A song that is developed more fully than many of the others uses many more instrumental embellishments and contributions right from the start. (No wonder it was such a concert favorite.) Plus, Anneke leave's many spaces for the instruments to shine--and lots of time for them to develop their solos and textural contributions. Not a great song but one of my favorites from this album. Plus, at times Anneke really belts it out! (18/20)

Disc 2 (49:29) 10. "South American Ghost Ride" (4:25) very interesting musical opening section--this feels like real progressive rock music! Guitars and synths exploring several pathways while drums and bass hold a steady pace beneath. Anneke doesn't even sing until some vocalise at the end! (8.75/10)

11. "Illuminating" (5:41) rolling bass and interesting drum beat open this before synth wash chords join in. Anneke enters at 0:30 with long-syllabled words. Pretty with interesting soundscape that bursts into something heavier (and not quite as engaging) for the chorus. Multiple vocal tracks are woven together for the second verse--carrying forward into the second chorus. Grating, metallic guitar edges used to open the instrumental passage that follows before Anneke and synth sport vocalise melody lines leading into the third chorus. (8.75/10)

12. "Locked Away" (3:24) trying too hard; yielding nothing special. (8.25/10)

13. "Probably Built in the Fifties" (7:26) industrial soundscape within which Anneke's heavily treated voice is distorted and compressed. It's interesting but the repetitive drum pattern just gets old. The chugging guitars in the second half with Mellotron play are good--followed by a spacey patch in the fifth minute that I like. The final three minutes are quite good: chugging and building, exploring some distant goal before Anneke rejoins and the music fades away into the distance, leaving us watching the horizon. (13.5/15)

14. "How to Measure a Planet?" (28:33) (51/60)

Total Time: 103:19

The flaw in the band's approach to song construction is devoting the first half of every song to very banal, simple two-chord constructs for Anneke to sing over before really unleashing the true genius of the band in the second half.

B+/four stars; an excellent addition to any prog lover's music collection

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