Album review – Peter Gabriel – i/o

Peter Gabriel‘s much-anticipated album “i/o,” his first offering of new material in over two decades, stands as a testament to his enduring artistry and experimental spirit. This album, arriving 21 years after “Up,” not only marks a significant moment in Gabriel’s storied career but also in the landscape of contemporary music.

At 73, Gabriel’s voice still carries the profound emotional weight and distinctive texture that has always been its hallmark. The album opens with “Panopticom,” a track that immediately sets the tone for the album’s thematic exploration of modern societal issues, particularly surveillance. The song’s driving acoustic guitars, complemented by Tony Levin’s robust bass lines, create a soundscape that is both eerie and engaging.

“The Court” continues this exploration, diving into the nuances of data privacy and the implications of digital oversight in our lives. Gabriel’s vocals, set against a mechanical beat, transition into a powerful arrangement that speaks to his mastery of marrying lyricism with music.

Central to “i/o” is the theme of humanity’s interconnectedness with nature. Gabriel articulates this through songs that feel like aural reflections on life, time, and our place in the natural world. The title track is particularly emblematic of this, capturing the essence of existence as a series of exchanges between beings – a cycle of inputs and outputs.

Production-wise, “i/o” showcases Gabriel’s penchant for sonic detail. The involvement of renowned producers like Spike Stent and Tchad Blake and the inclusion of multiple mixes, including a Dolby Atmos mix, offer a rich, multi-layered listening experience. Gabriel’s collaborative spirit shines through the involvement of artists like Brian Eno and the Soweto Gospel Choir, adding depth and diversity to the album’s sound.

“Four Kinds Of Horses” stands out for its thematic depth, delving into the dangers of fanaticism. Its trip-hop beat adds a sense of urgency and foreboding, while “Road To Joy” switches gears into a more upbeat territory, showcasing Gabriel’s ability to traverse different musical landscapes seamlessly.

The album also features poignant moments, particularly in “And Still,” a touching tribute to Gabriel’s mother. This ballad, along with “Playing For Time,” touches on mortality and memory, serving as sombre counterpoints to the album’s more upbeat tracks.

The creative process behind “i/o” is as intriguing as the album itself. Released track by track during each full moon of 2023, this approach reflects a modern understanding of how audiences consume music. Each song has been given room to breathe and find its place before coming together as a collective piece.

In “Olive Tree,” arguably the most accessible track on the album, Gabriel reflects on rejuvenation and connection with nature. This song, along with others like “Love Can Heal” and “Live And Let Live,” infuse the album with a sense of optimism, even when addressing serious topics like climate change and extremism.

However, the album is not without its flaws. At times, the lyrics can feel a bit on the nose, and the musical experimentation, while generally successful, occasionally veers towards repetition, especially in how some tracks echo the sounds of Gabriel’s past hits.

Despite these minor criticisms, “i/o” is a remarkable addition to Peter Gabriel’s discography. It not only showcases his continued relevance and innovation as an artist but also offers a profound commentary on the world we live in. The album, available in various mixes and formats, invites listeners to engage with it on multiple levels, both musically and thematically.

“i/o” is more than just an album; it’s a rich tapestry of sound, story, and emotion that captures the essence of Peter Gabriel’s artistic journey. It’s a work that speaks to long-time fans and has the power to resonate with a new generation of listeners. As Gabriel continues to push the boundaries of his craft, “i/o” serves as a reminder of his unique place in the pantheon of musical legends.

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