Labels: Crucial Blast
Review by: Captain Fidanza
This album has some songs on it that are long. One of them is just over twenty four minutes and that is long, that one is a long song. However, there are other songs on this album that are not long. The first song is just under five minutes which is not that long, that one is a not very long song.
As you can see, the title of this album is long too; it’s not the longest album title in the world, the band Chumbawamba who did that song about cider, released an album a few years ago which had about two hundred words in the title so Theologian have got some way to go before they release the album with the longest title, but I suppose this is a pretty good start. Fifteen words, not bad.
The album has some songs on it which have very long names, one of them has ten words in it, which is quite long, that is a song title which is long.
So longness is very much the key to this album, longness and sameness.
On Boxing Day 1973, Warner Brothers released a film directed by Oscar-winning director William Friedkin called The Exorcist, it went on to make $400 million world wide and to this day remains one of the most commercially successful films from that decade. As a result of the fantastic success of the film, Friedkin was courted by every studio in town, each offering him more attractive terms than the last. He eventually decided to go with Universal because some rapacious goon in a three thousand dollar suit agreed to give him $22 million to remake H.G. Clouzot’s Le Salaire de la Peur with almost no studio interference in the Dominican Republic. The film itself, renamed Sorcerer, is actually fantastically brilliant and although it made back only half of it’s production budget, it had the gross misfortune of being released into cinemas just seven days after George Lucas’ remake of Kurosawa’s The Hidden Fortress, meaning it was lost beneath a tidal wave of stormtroopers, blast-doors, lightsabers and X-wings. A colossal shame.
Tangerine Dream did the soundtrack for Sorcerer and bloody good it is too, in fact it is one of only two soundtrack albums I have ever owned along with Georgio Moroder’s score for Midnight Express. I love Tangerine Dream’s score for Sorcerer so much, I went out and bought what I was reliably informed was their best album, their magnum opus; it was a double album and it was called Zeit.
Zeit has four songs on it and the shortest one is two seconds under seventeen minutes, but it moves and it shakes and it bends and it weaves and it conjures and it swells and it drops and it swings and it sways and it grows and it shrinks and it appears and it vanishes and it attracts and it repels and it breathes and it inhales and it exhales and it expands and it contracts and it goes somewhere and it comes back and then it goes somewhere else and then when it comes back from there it’s a different thing than it was to begin with and it communicates.
This album here is little more than white noise. But if that’s your thing, you’re going to fucking love this. This is the Sergeant Pepper of white noise.
And the packaging is beautiful.