928. Blaze Bayley / Infinite Entanglement. 2016. 3.5/5

Despite my admiration for much of Blaze Bayley's work, this album slipped me by on the release date, and for some weeks afterwards. Despite following him on social media and often checking in to the website and other such platforms, I just didn't realise that Infinite Entanglement was in fact the name of his new album, and that the fact its name was emblazoned around the place meant it had actually been released to the public. Such is the world I guess when an artist doesn't have the publicity machines of those backed by major labels.

Once I had obtained the album, the next surprise in store was that it was a concept album, centering on Blaze's previously explored passions of sci-fi and the future and other such stuff. Well, that's not a bad thing. I like concept albums as a rule, or albums with a common theme running through them, but as I am sure I have mentioned in previous reviews, this enjoyment is also directly related to how accessible the songs are. Or in layman's terms, are the songs any good? Throwing in a range of songs in different styles can often plug up the flow of an album. On a concept album, it can be used to help tell the story. The danger is that the mix in styles will still affect the listening audience in an adverse way.
The story revolves around the first manned trip to the outer planets, and how that person's life expectancy is extended to allow the trip, and how it affects him along the way, to the point where he begins questioning everything that is happening around him. It is purported to be the first album of a trilogy in this story, which will interest some and not affect others. I admit that the concept is intriguing enough to remain interesting, but the telling of the story has to have the right accompaniment to make it work. The spoken interaction between or at the end of songs can be a distraction to those who just want an album full of songs, but as a part of the story process they are a necessity.
The songs themselves are of a mixture as mentioned previously, and some probably work better than others. The opening stanza of "Infinite Entanglement", "A Thousand Years" and "Human" all come at you with the speed and energy that you come to expect of Blaze's work - but it isn't quite as belligerent as it could be. The vocals are just a bit to much in the front of the mix, and the bottom end doesn't sound like it is there enough to give these songs the real boost they deserve. It's a small complaint, and no doubt these songs will sound much fuller and complete in a live environment, but even after twiddling with volume and bass controls I am left a little underwhelmed where I should be not even thinking about that kind of stuff.
"What Will Come" will surely be a heated discussion point amongst fans. Dominated by the acoustic guitar of his frequent collaborator Thomas Zwijsen and the violin of Anne Bakker, there is no other accompaniment to Blaze's vocals on this song. It's a bold statement, and really Blaze performs this wonderfully, and the musicianship of Thomas and Anne is not in question. However - does the song suit the album? Or the story at this point? Or do you just love this kind of song or find it is a barrier to the best parts? It's the barrier that is raised for me. I'm not against the style of song or the fact that it sounds terrific, but I want more grunt and more speed.
"Stars Are Burning" and "Solar Wind" return the album to that train-rattling kind of momentum that Blaze has through most of his releases. This is followed by "The Dreams of William Black", which combines a narrative with some vocals, and a stilted kind of music background that certainly forms a part of the wider story being told and is important in that context, but which cannot be suggested as a stand alone piece. The second half of the album comes home with mixed metaphors musically. Each song has its strong parts, emphasised by Blaze's vocals, or the double kick of Martin McNee's drums, or the solid riffing from bass guitarist Karl Schramm or the solo work of guitarist Chris Appleton. In each case though - for me personally - parts of each of those songs just don't mesh with the rest, leaving me feeling that they are unfinished or intangible. "Independence" should be a triumph but is left hanging with the up and down mood of the song. "A Work of Anger" just should be harder and faster, but instead feels a little sludgy. Blaze's band here sound great, apart from the stated fact that the bass feels lost amongst the majority of the album.

In my heart I feel as though this was a missed opportunity, to really bring the best and heaviest parts of his earlier solo albums to this project and really blow people away. That hasn't happened inn the long run, and the quest for the concept trilogy has become the driving force. I can continue to listen to and enjoy this album as it is without any qualms, and yet I still long to have heard something a bit more aggressive to have come across. Perhaps on the next installment?

Rating:   "Tough times never last though people always do"   3.5/5