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| Album Title: Lifelines; Artist: a-ha; Year: 2002 Rating 4/5 Track listing: 1 Lifelines; 2 You Wanted More; 3 Forever Not Yours; 4 There's a Reason For It; 5 Time and Again; 6 Did Anyone Approach You?; 7 Afternoon High; 8 Oranges on Appletrees; 9 A Little Bit; 10 Less than Pure; 11 Turn the Lights Down; 12 Cannot Hide; 13 White Canvas; 14 Dragonfly; 15 Solace The unlikely juggernaut that is the A-ha comeback continues apace with their latest long-play release, "Lifelines". Following on from the incredible platinum success of 2000's "Minor Earth Major Sky", Harket and co have shifted gear a little by sharing out songwriting and production duties more widely. This has led strangely to a record that on paper should be disjointed and confused, but in practice, conversely, sounds more coherent than their previous release. For a change, Paul Waaktaar-Savoy does not dominate the songwriting duties as Morten, and especially Magne, have between them written more than half of the album. If there were ever any doubts about the songwriting abilities of Harket and Furuholmen, they have been blown away by their latest efforts. Having said that, the outstanding cuts on the record are shared pretty much across the board as regards writing credits. Album opener and title track, 'Lifelines' (Magne), is a phenomenal, heart-felt cri de coeur. Morten's distinctive, seductive vocal pleads with the listener to live their lives ('what do you see/what do you know/one sign, what do we do/just follow your lifeline through').and take the good with the bad ('what if it hurts, what then/one sign, what do you say/don't throw your lifelines away'). Magne's musical imagery remains haunting elsewhere with the stunning ballad 'White Canvas', a philosophical study of life and love ('your life is a canvas/the colour is you'), and the whimsical 'Dragonfly', a song he originally wrote for the soundtrack of a Norwegian movie, but which gets re-recorded here with Morten on vocal duty. Magne and Morten collaborate on the accusational dance-tune 'You Wanted More', and the first single, 'Forever Not Yours'. The former portrays the frustration of a man who has given everything to a relationship only to discover that it was not enough ('I loved the sun/I loved the rain/I gave it up, but all in vain … we had it all/you gave it up/you wanted more'). The latter sees A-ha in familiar territory, a man on the verge of leaving his girl, describing the pain he feels ('hold me tight/it's a lonely night … memories, they keep coming through/the good ones hurt/more than the bad ones do … I'll soon be gone now/forever not yours'). It's a wonderful, thoughtful lament and is a testimony to A-ha's tight and focused sound, something that maybe wasn't as apparent on the remarkable 1993 album "Memorial Beach". While Morten also successfully weighs in with the catchy 80s vibe in 'Cannot Hide', Paul's smaller than usual contribution is now without considerable success. He produces arguably the albums best moments in 'Did Anyone Approach You?', a dazzling dance-rock tune, and 'A Little Bit', a beautifully crafted, multi-layered power-ballad, possibly one of A-ha's finest moments. The light-rock feel of 'There's a Reason For It' is certainly a grower and 'Less than Pure' takes a while to get going but delivers before the end. But surprisingly Paul is responsible for some of the albums least impressive work. 'Time and Again' is reminiscent of 'I Wish I Cared' from "Minor Earth Major Sky", but trails in the latters wake. It might be the linear feel, perhaps the functional lyrics (in fact Paul's lyrics disappoint more than they enthrall on "Lifelines") , but there is just something missing. Likewise, the summer tune 'Afternoon High' also fails to excite too much, although it is cheery enough not to offend. The Magne/Morten effott, 'Oranges on Appletrees', is the most confusing piece of work on the album. From the sweeping, almost epic piano and strings introduction, to the bizarre lyrics ('bugs that mate with bumblebees'), tongue is clearly kept in cheek. Telling the familiar story of enviromental disaster, it amuses lyrically, and musically. It's not a classic, but manages to engage the listener through it's quirky ideas. Anneli Drecker guest-duets on 'Turn the Lights Down', a not-too shabby love song that tugs at the usual heartstrings. Helped along by the two of the best singers in pop music, it's occasional lapses in momentum are easily overcome. Closing the album is the Magne-penned 'Solace', a poignant, string-touched ballad about sadness. In fact Magne's work is clearly influenced by his own well documented personal depression, and it has produced some amazing music. In a nutshell, "Lifelines" is a minor triumph. The few glitches are easily forgivable, and as a complete listening experience, it eclipses "Minor Earth Major Sky" with it's superior and more varied production, as well as it's allround stronger songwriting. Once again, it'll probably be ignored in the UK and the US, while the rest of the world feast on it. |
| Lifelines By Graham, Dublin |
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