Joe Satriani Unstoppable Momentum Album Review
It has been a while since a new album has grabbed my ears in such a way that I literally can't stop listening to it after the first listen. Such is the sonic momentum of the veraciously named Unstoppable Momentum, the latest solo album from guitar legend Joe Satriani. After numerous listens this week, it is clear this album deserves accolades including "album of the Summer" and "instrumental rock album of the year". There is one further distinction which sets this album apart from Satriani's oeuvre; one specific to those whose ears are unfamiliar with his music.
Unstoppable Momentum is the 14th studio album from Joe Satriani. The tl;dr for dedicated followers of his unique style of instrumentalism who haven't already heard it is, "why not?!". It is the casual listener and those of you who have never listened to Satriani before that I am speaking to when I say you need to hear this album.
It is a rare thing for an artist with close to three decades of experience to craft something new which, should win them over a new set of fans. The next time anyone asks me for a recommendation for an instrumental rock album to listen to, or more specifically, if someone unfamiliar with Joe Satriani asks me which of his albums would I suggest they start with, it will be this one.
Like many of his long-time fans, my first exposure to Satch was 1987's Surfing with the Alien. The vibrant Silver Surfer cover art and the otherworldly six-string acrobatics of the title track set the rock world on its collective ear when it came out. While that album has earned the "required listening" honorific multiple times over, I would still direct new listeners to this new album first, with a round of archival listening to follow.
Clocking in at 45 minutes, there is not a weak track to be heard among the 11 compositions. There are hit singles and radio staples here, recorded for a world where such things no longer exist, except in the minds and ears of those who know. Drill down into the individual tracks and you will begin to get a sense of why normally I wouldn't suggest a first listen to an artist starting with their 14th album, but why in the case of Joe Satriani's "Unstoppable Momentum", you should.
"Unstoppable Momentum" - Upon first listen, my reaction was to compare this track to the hits spawned by Satriani's 1992 album, The Extremist. However, after repeat listens it is more accurate to say Satriani is using knowledge accumulated in the intervening two decades to craft something vibrant and of this era and not reliving past glories. Replete with high fretboard acrobatics, a melodic chord foundation and a sonic production value that speaks to the notion of grabbing a listener where melody affects the brain, this is a note perfect album opener.
"Can't Go Back" - That same notion of melody, composition and production continues here, with a classic example of Joe Satriani's guitar "singing" what would be the lead vocal in any other song. This ranks as among my favourite songs on a disc I simply can't hear enough of.
"Lies and Truths" - If there is one thing in rock that there isn't enough of, both now and historically, it is the aural harmony of guitar and organ tones. In this track, there is a subtle nod to the guitar-organ interplay mastered by Deep Purple, a group which Satriani briefly toured with and very nearly joined full time. This is Satch in full effect. For those who dare try to replicate the solo; Air Guitar Level: Master.
"Three Sheets to the Wind" - After the melodious rockers which opened the album, Satriani takes a fun stroll (albeit a potentially rum-soaked one) down to the docks. The playful central riff wraps a summery theme that evolves into a wild groove through the song. The song title equally evokes images of sails and the effects a few too many umbrella festooned drinks might have upon one on a warm day near the water. Instant and welcome earworme appeal.
"I'll Put a Stone on Your Cairn" - Satriani shifts moods again. Spiritual production and a mournful yet not sad guitar line create a majestic theme which celebrates one who has gone. Have you ever heard a lone, funereal bagpipe play "Amazing Grace"? Then you get the idea. This one still sends positive chills down my spine even after repeated listens.
"A Door into Summer" - You know how everyone from put upon music critics to creatively challenged artists have decried the death of the album as a listening experience? Yeah, here's a perfect example of why they are so wrong. If you listen to Unstoppable Momentum as a linear listen, you will come to appreciate the art which Satch and engineer/producer Mike Fraser have created. Coming out of the mournful melodicism of the previous track, this one begins on a short, church-style organ flourish, which gives way to one of the happiest sounding songs here. Much like the opening track, this has earmarks of Satriani's ability to write hit-single quality music for a world where such things are no longer appreciated in the terrestrial radio world. Listen, repeatedly.
"Shine on American Dreamer" - Propelled by a crunchy rhythm, a combo of dramatic riffs and snake charmer riffing throughout the solo, this is the third in a trio of songs (including the tracks "Unstoppable Momentum" and the previous, "A Door into Summer") which are text book examples of how to compose instrumental rock that should appeal to the widest possible audience; from casual listeners and televised sports-profile segment producers, to music theory students and guitar rock cognoscenti. In short: This rocks.
"Jumpin' In" - For the past four years, in addition to his solo and session work, Joe Satriani has recorded and toured with the supergroup, Chickenfoot. The opening riff starts off very much in the vein of a Chickenfoot track but multiple evolutions throughout, including a funky 70's breakdown before and beneath the solo, make this classic Satch.
"Jumpin' Out" - Sounding nothing like its titular predecessor, I utterly love, love, LOVE the organ joining the guitar on this jam. The album overall, but this track specifically, will appeal to bass players for the upfront bottom end supplied by Chris Chaney who has also played with Slash, Jane's Addiction and Alanis Morissette.
"The Weight of the World"- Is that a guitar, synth or guitar synth that start this one? No matter, it sounds sweet. After multiple listens, I can't separate the very unique sound of this riff from the fantasy world of TRON. No, it doesn't sound anything like Wendy Carlos or Daft Punk, but the biomechanical tonal quality, combined with the big and dramatic guitar voicing in the song is inescapable and each time I've heard it, it makes me wonder what a Joe Satriani collaboration on a future soundtrack (TRON or other cyberpunk-themed world) would sound like.
"A Celebration" - Satch ends the album on a terrifically up tempo and bright note. This song is a perfect bookend to the style of the opener. A further example of the craftsmanship which went into making Unstoppable Momentum a true, album oriented listening experience.
I don't say this often, okay maybe I do but, if it were within my power I would personally buy each and every person reading this who hasn't heard Unstoppable Momentum their own copy of it. If guitar-centric instrumental rock is something that you have even the smallest fleeting interest in, Joe Satriani's Unstoppable Momentum is an absolute must-listen. Five out of Five. Desert island disc worthy. Drop what you are doing and listen. Yes, it is that good.
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