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INTRODUCTION
The latest masterpiece from the Peterson-Brightman collaboration represents
the singer's most significant change in style since
Eden.
Although the sounds of her contemporary-classical popularity can still
be found on the new album, there is a distinct broadening of the tonal
palette.
Harem instantly impresses upon the listener the
fact that great pains have been taken to make this one of Sarah's most
ambitious and epic projects ever; a sensual oasis of music that draws
on Arabic culture and influences. Despite being conceived by Frank more
than two years ago, the album is imminently relevant and topical to
today's current political climate. And so, sweeping orchestral passages
are juxtaposed with Middle Eastern traditional instruments and ethnic
voices, as well as a smattering of gorgeous Renaissance-style choral
passages. Besides the incorporation of these new elements, the move
to such exotic lands is also heightened by the discoveries one makes
in each song. Tracks start in one style and then promptly change course,
sometimes achieved simply through the inclusion of a soaring solo-violin
section or special guest vocalist, but at other times it is far more
dramatic. On no other track is this more apparent than with the opening
title-song which halfway through, peels back the moody introduction
that has developed only to spin into a synth-orientated club piece complete
with traditional percussion. It is fitting that this happens so early
in the album as it provides the listener with a good idea of the direction
Harem will be taking. For alongside the live recordings
of the kanoon, kawala and tabla players, is the welcome return to a
greater use of electronic basslines, lead-synths and samples which have
not been as prominently featured on a Brightman album since her earlier
works like
Fly. The album's
depth and maturity are epitomised in the near 9-minute recording
Arabian
Nights, an epic rock-Arabian odyssesy consisting of five interweaving
sections. 'Cover' versions like
What A Wonderful World or
Stranger
In Paradise are drenched in the new album's mood, while
The Journey
Home and the touching
The War Is Over serve to further elevate
that mood.
Until The End Of Time romantically finishes the journey
we have just undertaken, leaving us inspired and fulfilled. Indeed all
of this makes for Sarah's most uplifting album to date, with hardly
any overly dark or ominous content (be it lyrical or melodic). Although
the album is filled with highlights,
It's A Beautiful Day would
have to be the biggest. Besides being instantly accessible to a pop-audience,
it so perfectly nestles Puccini-aria atop dance rhythms, dreamy basslines,
aggressive Middle Eastern strings and an infectious English-lyric chorus:
fans of
A Question Of Honour will be enraptured! It is truly
superb to see Peterson continue the Middle Eastern-pop style he demonstrated
so expertly with
Ofra Haza.
The result is an album that once again furthers Sarah Brightman's musical
canon in an exciting and unexpected direction.
Reviewed
May 2003