| Artist: | Janus |
| Title: | Free Fall |
| Label: | World Wide Records |
| Length(s): | 48 minutes |
| Year(s) of release: | 1994 |
| Month of review: | 05/1995 |
| 1) | Young Albert | 5.56 |
| 2) | Free Fall | 4.49 |
| 3) | Toon | 4.08 |
| 4) | Sgt. Salts Experience | 4.35 |
| 5) | The Emigrant Song | 4.44 |
| 6) | Apocalypse Clock | 4.55 |
| 7) | Wood Nymph | 2.45 |
| 8) | Taco Source | 6.19 |
| 9) | Sandman | 4.38 |
| 10) | Abo Habit | 5.25 |
Young Albert? Might that be Schweitzer?
The second song has an early Patrick O'Hearn atmosphere, especially because of the bass. The variety of instruments however makes sure this comparison does not last long. The track is easy-going.
The third song also reminds of that album by O'Hearn, Between Two Worlds. It's bit uneventful though. A lot of bass and percussion, but a low tempo as well.
Track nr. 4 is back to Janus with a droning bass. After a while we a dreadfully happy interlude, a bit on the classical side. Didn't charm me. After a while a march is started, so now we know where the title comes from. The keyboard work in this song has a definite Yanni ring to it. At the turn of 4 minutes, the guitars burst in again. They really haven't done that often up till now, although Mr. Orr is usually known for his great seering guitarwork (listen to Agnus Dei and you'll know what I mean). Strange song this, seems to be a collection of threads and bits. A bit of a march, a bit of wordly percussion, some guitarwork and we'll see what comes of it.
The Emigrant Song (anything to do with The Immigrant Song?). This is one of those songs that reminded me of the softer Gandalf (say the softer parts of From Source to Sea). It really sounds like Gandalf, which isn't really surprising, because the instruments, well Gandalf usually makes synthesizer stuff, but on From Source to Sea he played rather a variety of other, acoustic, instruments as well, including some beautiful guitarwork, so I think this comparision has its merits. Still, most of the song is really easy going and good to dream away by.
Nr. 6 starts off with that sad cello again. After a while flowing keys take and we also get some acoustic guitar, while the clock keeps ticking and ticking. After a vocal interlude (girlie talking to daddy) the electric guitar takes the lead, telling its story to whomever listens. It's prayer is answered by the cello, ever sad, so I guess we know now what will happen to us, shortly.
Wood Nymph is a little ditty, that starts out like a musical box melody. Nice flowing melody, but a no surprises here, except for the rather abrupt end to the song.
8 is again a bit in the Gandalf line. A friendly melody, warm and cozy. The guitar does return, but this time the solo (a small one, just before fade out) is very melodic.
Sandman is well, a bit on the Chopin side you might say, especially the beginning. It has a bit of that chamber orchestra atmoshpere as well, when the cello comes in. A few people with fake hair playing quietly in the corner of the room, while everyone's attentive and smiling. The guitarsolo is very Janus, although not overly present. Another reference is dear old Yanni in one of his piano pieces (although no guitars in that case).
It's back to the jungle with the sinister Abo Habit. A combination of Jarre a la Zoolook with some jazzy piano on the side. Now the electric violin makes its entree and the combination with the percussives works quite good. Startling.
A negative point is what my problem with New Age as a line of music is: there's little emotion, more a comatic 'just being there' and especially the darker sides of mans emotion life are usually quite underpresented: no anger, no fear, nothing of the kind. And I must admit, that I rather like those aspects in some music. Not always so friendly. That's probably why a like track 1 and 10 more than the rest: they have something nasty and confronting.
If this is Janus' new line of music than it's obvious they are looking for their own sound, bouncing off Gandalf, early O'Hearn and Yanni.