Customer Reviews

Engines of Creation

5 star:		(72)
4 star:		(43)
3 star:		(18)
2 star:		(11)
1 star:		(25)

 

 

This new release is again different from his other masterpieces. At first, it sounds a bit strange with all those techno drum ryhtms and synthesizers. For me personally, I had to get used to almost all Satriani CD's, since his music is not that easy listening like most popular top 40 hits. Joe's music is much more complex than regular "top 40" songs with extremely melodic and detailed guitar playing. The main strenght of his instrumental work is the melody, which is so present that you won't even miss vocals. The same story for this CD. The style of the tracks on it varies a lot. The first 3 are very techno rythm orientated, number 4 is a classic brilliant song in the style of Always with me ... Always with you. It is also the only one with a full band. Number 5 is a song with lots of "noisy" techno influences, but it also contains one of the most sensitive guitar melodies on the album, which gives it a great contrast. Number 6 reminds me of his Joe Satriani album and Jeff Becks recent work. Track 7 is very relaxing, number 8 a great intermezzo/intro that changes in my personal favorite track 9 (Power Cosmic-PartII). Track 10 is again a very sensitive relaxed song with a harmonizer effect on his guitar. Finally, track 11, the title track, is a worthy end of album song. The only thing I dislike about the album is it's length. 53 minutes is way to short!

ENGINES OF CREATION is another amazing addition to Joe Satriani's canon of cutting-edge creativity. Dismissing the detractors outright, I consider this CD the next logical step for Satriani afte CRYSTAL PLANET. The liner notes on that CD credit Eric Caudieux with keyboards and programming, and on ENGINES OF CREATION, Caudieux shares arrangement credits with Satriani. So whatever went on between them during their previous enterprise effloresced into this new excursion. Once you're aware of this, you appreciate Satriani's bold progression, and if you're a true fan, you'll release the artist from the limitations of your own narrow preconceptions. Granted, the first time you hear it, it startles you, and what some of the other reviewers have said is true, but the context of their remarks is erroneous and too general. A more accurate broad-stroked description of the content of EoC would be more like "Nine Inch Nails collides with Vangelis," a melding conducive to some very futuristic creations. While the electronic drums and synthesizers appear to be the salient feature of the music, this perception is merely the product of your surprise during that first listen. You have to listen again. The electronic enhancements are intertwined with the guitar music, both elements forming an upwardly-spiraling double helix, a ladder inviting us to climb with Satriani into his newest realms. In the end, the guitar edges out the synthesizers, with leads as piercing as ever, sometimes more so, as if Satriani is driven to invent the state-of-the-art instruments required for consciousness-altering laser surgery. To say as one reviewer did that Satriani improvises over a programmed and synthesized background oversimplifies this work. This is by no means a plain album exploiting some trend toward "electronica." These creations are a product of Satriani going where his creativity dictates he go in order to stay fresh, to himself and to his fans. It works, and it works very well, a Grammy-deserving accomplishment.

As is the case in most of Satriani's previous albums, the first track is selected to shatter your complacency, and "Devil's Slide" is a monster assault on your expectations. It begins with sizzling synthesized notes, a deceptive melody interrupted by a sinister jackhammer lead. You can liken the experience to being ambushed and machine-gunned by the invader from a violent video game. Despite this awesome introduction to new dimensions, it was the third track, "Borg Sex," that inspired my deeper appreciation for this collection. The distinct characteristic in this piece is the dialogue established between two distinct riffs. The first is a two-chorded growl, answered by a single-chorded, string-bent wail, and the exchange quickens in tempo until it reaches a rhythmic crescendo, then shifts to a sustained, sailing release. This is only the strongest element to this song; the song is filled with other sounds that feed and weave around this dialogue. It's an incredible composition.

The fourth track, "Until We Say Goodbye," the bluesiest piece on the CD, is traditional in conception except for the addition of the synthesizer, proving that even on a stainless steel landscape a man still needs to weep. Satriani's guitar work here comprises one of the most wrenchingly beautiful pieces he's ever written, while in the distant background single synthesized notes fall like shooting stars, implying the pining away for a love receding into the horizon. A more hi-tech blues number is the track "Slow and Easy," which includes electronic wind and ominous single-note whirs, conjuring the image of sci-fi melancholy.

I see ENGINES OF CREATION as an extension to CRYSTAL PLANET. Don't let the naysayers influence you into dismissing this album as a failed experiment. It is a fully-realized work and it belongs in the collection of any true Satriani fan. It bears all of the originality of Satch at his creative finest. And those of you who think the album lacks guitar need to listen again. It's full of guitar work, so listen to it again and again until you break through your own biases of what you think a Satriani creation should be. This man is a composer, and he's currently invading the landscapes created by the likes of Vangelis and Tomita, but adding a rock guitar twist.
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Yes, this album takes a little getting used to. And Satch is sure to upset some of his most die-hard fans by taking this new direction. However, if you really give it a chance, you'll find that Engines of Creation is full of fresh new ideas and amazing technique. And even with all the drum machines and high-tech wizardry, you can still tell that it's Joe. I can't count how many times I listened to the CD on loop yesterday after buying it, and I'm not even a fan of "techno" at all. This album is not for those looking for a "safe" album where you know exactly what you're getting before you buy it. Joe is not content with re-packaging the same material and duping fans into buying it as a "new" album, as he's shown time and time again - most notably with his self-titled blues-oriented album that at least initially disturbed many fans, including me. Now it's one of my favorite albums. The Silver Surfer has proved once again that he is the master of the six-string.

And make sure that you're listening to a seriously good stereo system. I was taken aback on first listen.. it's like nothing he's done before. Joe has two classes of albums: The ones you hear the first time and are completely blown away by (Surfing, Flying, Crystal Planet) and the ones that you're kind of confused by on first listen (Joe Satriani, EoC). I know that his self-titled album started as my least favorite, and is now what I listen to more than any other. After listing to "Flavor Crystal 7", "Champagne?", and "Slow and Easy" a few times... I think that this album has the same kind of legs. Enjoy his brilliance... there is nobody like him.

With Engines of Creation, Joe Satriani did what he has always done: make the most of the tools he chooses to use.

Only this time, he uses electronic beats and soundscapes as the canvas on which to express his skill with the guitar. It would be easy to give this one listen and wonder where the guy who wrote "Satch Boogie," "War" and "Flying in a Blue Dream" went.

Well, he's still here, only more than ever he's showing us his incredible command of his instrument by being able to create sounds that so perfecly reflect what they intend to convey.

I've never heard robots having sex, but I'm willing to be "Borg Sex" isn't far off. And although his calmly passing, sometimes noodling melodies appear to have little structure, that's kinda how you'd expect to see "Clouds Race Across the Sky." The 'chorus' to "Devil's Slide" sounds as sinister as its name suggests and "Attack" is as close to a musical sci-fi battle as I've ever heard.

To top it off, the album includes "Until We Say Goodbye," one of Satch's best ballads in his entire catalogue.

If you're willing to put a little more mental energy into appreciating the work Satch put into this album than just waiting for the album to rock your socks off Surfing With The Alien-style, you'll find that there's an incredible amount of depth -- and musicianship -- to be found.

It's not a Satriani masterpiece, but its a true testament to the man's enduring creativity.

This is, in my opinion, Satrian's finest and most mature work, period.
I feel this collection has been too harshly judged and I suspect some of the reviewers haven't spent enough time with it. I urge anyone who dismissed it too readily to give it one more honest, complete listen. And be warned, if you switch off too soon, you will miss out on his masterpiece, the title-track, 'Engines of Creation'.
This track contains everything for which guitarists of Satriani's ability have been accused of lacking; melody, space, emotion, 'feel', and a song-length build-up to a perfect climax. The intensity is building up from the opening notes and creeps up on you with stealth and patience. He never falters in allowing the song to breathe and at the same time plays just enough to say what he needs. It's perfect.
There are standout tracks all over this CD but so few would know as it's been criminally neglected since it's release.
I own all of Satriani's work but this is the one I keep on returning too.
Please listen to this CD.

That's right- Joe Satriani has gone techno! With that being said though, this CD is chock full of BLISTERING LEAD WORK. If you are looking for the crunchy metal hooks ala "Surfing With the Alien" or "Crystal Planet", you WILL NOT find them here. The old, worn out metal themes have been replaced with dense textured synths, electronic drums, and synth guitars. This is absolutely the most original guitar recording to come out in a LONG time. The lead work is phenomenal (as usual), but this time it takes on an exotic, improvised jazzy feel. Standout tunes include "Devil Slide" with it's machine gun synth guitar rhythms and dueling solos, the atmospheric Rush styled "Flavor Crystals", and "Borg Sex" which digitally builds to an AWESOME solo climax. Joe certainly had his creative engines running full throttle and if you will listen with an OPEN mind, you will see that he has trailblazed a new path for instrumental guitar.

Joe's always been about creating vast alien soundscapes. Engines of Creation is also the title of a pioneering book about nanotechnology, and when I discovered this, the CD made a lot more sense. Imagine a future where submicroscopic bots can create unimaginably complex molecular structures, or course through our bodies fighting disease. Organic life and technology will fuse in unimaginable ways, and the songs on Engines of Creation, for me anyway, are an amazing soundtrack to speculation. Like most Satch, it's not love at first listen, but by the 3rd or 4th spin you'll never get it out of your CD player. Or your head.

Okay, so this doesn't sound like anything Satch has done before, but who says the man can't branch out and experiment a little bit? This is a very progressive, modern rock record that deserves some respect and recognition. Devil's Slide is an awesome opener; Flavor Crystal and Borg Sex continue to rock, and then things get mellow with Until We Say Goodbye. This is certainly a well-balanced record. Rockin' songs and mellow songs coexist here splendidly. And Engines Of Creation is a great way to close the record; laid-back, moody and even a little sinister. Nice work, Satch.

Far too often artists find a niche that they are comfortable in (read commercially successful) and fear to try anything new. One of the best things about Joe is his never ending drive to improve his music through change. I admire an artist who does not fear to try something new and push the limits of his musical ability. While not my very favorite Joe album, Engines of Creation is still an excellent realease, and should be given a fair chance by all listeners. Joe is a true artist, not just a mimic of his own or other peoles music.