Author: Peter Podbrežnik
Artist: Saga
Label: Inside Out Records
Release: 2007
Rating: 4.5/5
“10,000 Days” might, if you believe the word coming out of their camp in recent months, be the last studio album from the legendary Canadian art rockers Saga. Not so long ago I still believed that Saga’s saga would never end, and that these guys were one of those indestructible, tough-as-nails bands who’d keep playing as long as their legs could carry them, or until the world ended. Sadly, that now looks less and less likely. The main reason is the decision by singer Michael Sadler, one of the three original members, who announced earlier this year that he’ll leave the band after this year’s tour to spend more time with his family (almost a textbook reason for this kind of exit). Given that, in my opinion, Sadler is one of those irreplaceable vocalists you simply can’t imagine the band’s sound without, it seems entirely possible that after a heap of great albums (especially in the last eight years) the time for goodbye has come. Whatever happens, one thing is already clear: even if they carry on with someone else at the mic, it’ll never sound the way it used to. A singer with that much charisma and emotional expression, who’s also so deeply woven into the band’s sound, isn’t something you just swap out. The future will show what the remaining members decide: the Crichton brothers on guitar and bass, keyboardist Jim Gilmour and drummer Brian Doerner. Either way, it’s the end of an era, one we’ll be remembering with nostalgia for a long time, with a pile of terrific records and only two missteps along the way. In terms of what Saga have done for Canadian rock and art rock in general, they’re completely on par with their far more famous and notorious peers Rush. Rush, too, looked like they’d reached the end of the “road” a few times, only to rise again, and from the toughest of moments at that. So there’s still hope that Saga aren’t done and that Sadler’s decision is only temporary (the theory that it’s a way to boost ticket sales is perfectly plausible here). Never say never again.
Whatever the future holds, before Sadler’s farewell, or a possible farewell of the whole band, Saga have released yet another excellent and utterly fascinating album. Unlike most of their records, which usually had pretty accessible melodies and won the listener over very quickly, this one has the ability to grow in your ears with every new listen. The title comes from the number of days elapsed from the band’s founding until now. Saga are celebrating their 30th anniversary this year, which makes Sadler’s departure all the more dramatic for fans. “10,000 Days” is accordingly a pretty symbolic and retrospective album in many ways, with lyrics full of memories of past events from the band’s history as well as the more classic, philosophical questions in the vein of “where do we come from, where are we sailing”. Musically, its excellent predecessor “Trust” (2006), in my opinion definitely one of their best albums, was far more direct, wound-up and focused on tighter songs, while “10,000 Days”, with more complex progressive elements, plenty of ambient moments, longer instrumental sections and slightly softer guitar and keyboard lines, is closer in spirit to “Network” (2004). That means this time around those who always wanted to prove that the prog rock side of their art rock was always more obvious than the melodic/pop rock side will get their fill. “10,000 Days” also has a completely different vibe from its predecessor, offering the listener more laid-back, subtler moments that leave room for “daydreaming”. That’s mostly down to the fact that Gilmour hasn’t had such a varied palette of ambient keyboards and so much room to breathe on most tracks in ages, while Ian Crichton’s recognizable guitar grind is pushed a bit further back in the production on most of them. Still, there are plenty of the more energetic, punchier moments with more of their trademark hard/melodic rock elements, which bring back memories of some of their tighter work from the past. Although I’d say it’s their deepest album yet, there’s no room on it for mourning or over-the-top drama. If a sense of farewell is present anywhere, it’s solemn and dignified. The beloved cybernetic grasshopper, which kept showing up on their covers from the late ’90s on, has this time been replaced by the giant skull of an alien, discovered by astronauts in the middle of a desert on some unknown planet. On the back of the album you can see a pyramid in the background, hinting that this was an extinct creature that also influenced human history. That aura of futuristic mystery has always been one of their favorite tools for shaping their musical expression, which often rested on a special “spacey” atmosphere and sci-fi concepts.
Throughout the album Saga radiate a new level of maturity, brought on by years of tireless grinding (so far they’ve never taken more than three years off between albums) and constant sonic evolution. “Lifeline” opens with ambient keyboards and sound samples that build a mysterious atmosphere until a punchy guitar riff cuts through. It’s mostly built on a slow rhythm, while fine layers of keyboards, lively riffing and a melancholic vocal weave a special kind of magic. The calm chorus, with the vocal accompanied by ambient curtains of sound, really does sound like it’s from another planet. With almost cybernetic-sounding solos on keyboards and electric guitar, the futuristic feel is complete. Next up is the no less impressive “Book of Lies”, which opens with a strange keyboard effect before a hard-hitting motif crashes in with an energetic vocal and tons of synths. Here too we run into a “spacey” chorus. Besides the odd effect on keyboards and percussion, the song’s main charm is an insanely energetic drum break and a longer, more complex instrumental section, which ranks among the prog rock highlights of the album. The run of excellent songs continues with “Sideways”, with an interesting opening motif formed by a mix of guitar riff and piano. The symphonic arrangements are laid nicely over a bouncing rhythm. After an epic section with layered vocals comes a superb, triumphant chorus, one of the most dramatic moments on the album.
“Can’t You See Me Now?”, opened by ethnic-sounding keyboard samples, a groovy guitar riff, a slow rhythm and a dramatic vocal build-up, is lyrically a sarcastic critique of modern politics. The ambient curtains of keyboards together with the melancholic vocal in the chorus create an unforgettable atmosphere. The second half brings an excellent Ian guitar solo with plenty of great drum fills along the way, confirming just how good Doerner is. Everyone who’s often expected more complex prog rock from Saga and gone home empty-handed will surely be thrilled by the excellent instrumental “Corkentellis”, which from a technical and artistic standpoint is some of the best stuff they’ve ever done. Delicious instrumental sections with top-notch keyboard and guitar solos, unpredictable time changes and complex passages with outstanding work on drums and bass will win over even the last holdout who doubted Saga as a prog rock band. The alternation of ambient excursions with energetic, virtuoso flights is simply breathtaking. A total win from a quartet of first-class instrumentalists. At the same time, this composition offers an interesting vision of how Saga could sound in the future if they carried on without a singer – as a symphonic prog rock band with elements of ambient and space rock.
“More Than I Deserve” is a gorgeous ballad that, through a combination of an outstanding Sadler vocal performance, backing vocals, ambient keyboards and a beautiful acoustic guitar melody, forms one of the loveliest moments on the album. In the lyrics Mike thanks all the loyal fans who’ve supported him and the band all these years in a deeply heartfelt way. “Sound Advice” is pretty much a classic Saga creation, recalling their punchier work from the early ’80s. A hard-hitting riff, bouncing rhythm and sarcastic vocal once again bring back the Saga that lodged itself in the memory of most of their followers – masters of melodic art rock with an ever-present element of unpredictability. The title track “10,000 Days” is a ballad soaked in symphonic arrangements and a gorgeous acoustic guitar melody. It’s a wonderful retrospective moment, looking back at all their past achievements, all the ups and downs. The anthemic, layered chorus gives it a solemn feel, while the interplay of acoustic guitar and keyboards radiates remarkable subtlety. “It Never Ends” then confirms that no matter how the epilogue plays out, Saga’s saga will never end, and that even if they call it quits after this album, their music will live on for a long time. After a great opening motif, where fast-fingered keyboard textures flow into a hard-hitting riff, comes a magical, spacey atmosphere, built from a mysterious vocal laid over a massive rhythm and a magical interplay between guitar and keyboards. The excellent, epic chorus with the line “everything was changing, never ends” actually offers a nice answer about the band’s future. Saga close the album with one of the deepest works of their career.
After “10,000 Days” you really have to ask yourself where the logic would be in a band that has just proven it’s still full of creative drive and work ethic waving its followers goodbye. With “10,000 Days” Saga have once again made one of their best albums (I said that about both of the previous ones too, but I’ll say it once more), and at the same time their most expressively deep album so far, one that gives more weight to their progressive rock side. I honestly can’t remember any earlier album radiating such strong mature energy as this one. Together with “Snakes & Arrows” from their Canadian art rock comrades Rush and “Fear Of a Blank Planet” by Porcupine Tree, it’s in my opinion one of the best prog rock albums of 2007. Saga really are like good wine – the older, the better. If this does turn out to be the final act of a band that’s delighted fans of eclectic rock for so many years, it’s the best possible farewell. With Sadler’s departure a chapter closes, but whatever the future brings, the saga of Saga will never be over.
Lineup
Michael Sadler – vocals
Ian Crichton – guitar
Jim Crichton – bass
Jim Gilmour – keyboards, backing vocals
Brian Doerner – drums
Production
Jim Crichton
Tracklist
1.) Lifeline
2.) Book Of Lies
3.) Sideways
4.) Can’t You See Me Now?
5.) Corkentellis (instr.)
6.) More Than I Deserve
7.) Sound Advice
8.) 10,000 Days
9.) It Never Ends
