A character escapes from the police and after all the money played to draw covers crime novels.
Melbourne symphonic metal band Vanishing Point return after seven years to release Distant is the Sun. Drenched in power metal and with a crystal clear production, the band seem intent on releasing their finest product to date, however the overall feel of the album is a slight let down, with some songs morphing into others to create a sameness in the end result. That’s not to say the die hard symphonic metal heads will not adore this album: it’s heavy, it’s melodic and it contains some strong song writing.
There was a lot of New Age music produced in the '80s, but none as interesting and lyrically advanced in sheer compositional depth as Harriss. Many composers major on timbres, acoustic and atmospheric effects, but were lacking in harmonic dynamism; merely passing novelties in comparison. Better put: you can take any of Don's pieces, play them without his stellar patch choices with the austerity of a basic piano, and their inspired musical integrity remains intact.
Primal Scream always refracted the past through the prism of the present, turning hero worship into something resembling high art. It wasn't always this way, not at the start, when they were part of the delicate, brittle C86 scene, nor was it true when they exploded in a brilliant blast of acid house on Screamadelica. The art came later, after they halted their ascendency via the Stones-aping Give Out But Don't Give Up, a move that in retrospect seems to be an important final foundation within the construction of Primal Scream but at the time seemed odd, halting, flying in the face of Cool Britannia.