The sophomore solo release from drummer Thomas Lang, Something Along Those Lines, is a contemporary hybrid sound of “chill out” jazz and progressive rock punctuated by shredding guitars and blasting drum beats.
Integral to the eclectic sound of Something Along Those Lines are various guest musicians including: seminal heavy metal guitar legend Bill Liesegang (Iron Maiden/Nina Hagen); keyboard genius Christian Lohr (Gianna Nannini/Paulina Rubio) and guitarists Torsten de Winkel and Steve Jones among others.
“In the time it took me to finish this album, my life has changed immensely, says Lang.“ There has been love, loss, birth, death, comings and goings -- and it‘s all represented here.“ When asked what does “it” all sound like? Lang laughs, “I don’t know. But it’s all here. Or, something along those lines…”
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| TRACK LISTING Pinball Mylar Vs Nylon Dragster Hollow Nickel Cannonfodder Cote d’Azur |
REVIEW
Upon my first listen I could tell that Thomas Lang fans were going to really love this CD. The production quality of this project is first-class; very polished. Not surprising when you learn that Thomas put five years of his life into this album.
If I had to put a label on what this CD sounds like as a whole ... it reminds of a young Dave Weckl with the Chick Corea Elektric Band ... only the drumming is like Dave after a case of Red Bull. Lot's of 32nd-notes in the drums ... and I mean a lot! In fact four of the eight tunes on the album have bass drum flurries throughout the track. Several other cuts have an intensity in them, but it's coming from the top of kit. But this is who Thomas is ... it's what he's known for ... and people love him for it! But before you start thinking that this album is all about chops, let me tell you that there's a couple of groove oriented tunes that really breathe and have a nice feel to them ... my favorite track No. 4, "Hollow". Throughout the album, however, there's a lot of musicality; the 'chops' are used tastefully.
Thomas wrote and produced all of the compositions, plus played all the instruments and/or programming, save some guitar, keyboard and organ solos on a few tracks. If you're not impressed with Thomas' drumming (and who isn't), you'll surely be taken back with his compositional, as well as production abilities.
If you're looking for a lot of pyrotechnics from the drum chair, this album will not disappoint; there's something for everyone. I recommend that every serious student of the art of drumming check out this album.
