At
long last, the much-anticipated follow-up to Andy Summers and Robert
Fripp's seminal, iconic, progressive experimental albums I Advance
Masked and Bewitched is here – except this time, it's
all Andy.
As
befits his first fully independent, self-released solo recording,
Summers truly goes it alone, composing all the music and playing all the instruments himself,
including bass, keyboards, drums, and percussion. Summers pulls it off so well that it's easy to forget that he's the only musician in the studio. Of course, as
always, his guitars, as well as other stringed instruments, are the focal point of the proceedings, with Summers producing exquisite, elegant leads, rhythms, and solos, covering a range of styles from blues and funk to jazz and rock.
While
the 10-track collection definitely has the spirit and elements of the
previously mentioned Fripp collaborations, as well as Summers' solo
instrumental albums Mysterious Barricades, The Golden
Wire, and Synaesthesia, it is at the same time fresh and original.
This
is unlike anything Summers has done before, with its variety of
textures, tempos, and time signatures. But Andy's classic sounds pop
up here and there, reassuring us that our guitar god is still present
as ever.
Although
every composition is stirring, my favorites are “Ishango Bone,”
“Bitter Honey,” and especially “Harmonograph,” with its
slithery, electronic lead guitar. These are the most conventional
sounding “songs” on the album, and even then they're
unconventional. In a sense, Summers has come full circle from his
eclectic musings on the track “Circe's Island” from David
Bedford's 1976 album The Odyssey.
In
its review of Summers' 1995/1996 release Synaesthesia,
Entertainment Weekly wrote, “With Andy Summers, even if you
expect the unexpected, you'll still be surprised.” This has been
true of each and every project by Summers, and the epic, groundbreaking Metal Dog is
certainly no exception.
--Raj
Manoharan
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