Wait Five Years features some lovely female opening vocals from Bine Heller and Caroline Brunken, which is a much more delicate than the opening of the original album. The Aliens dialogue bleeds through again, and then Kalle Wallner launches a fluid guitar solo. The Floyd influences take a backward step on Who Do You Think We Are as classic Beatles-esque melodies and vocal harmonies shine through. In the ensuing confrontation she meets another ‘Mother’… but I digress!!! In Hole in the Sky, Yogi Lang states “I’ll fly to the grievous light”, and whilst it is not a concept album it is clear that his sense of grief is threaded through much of the album.
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Sigourney Weaver, as Ripley, becomes the surrogate mother of the young girl Newt, and the film is mainly about her link to the girl and her fight to save her.
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How? Well, whilst on the surface Aliens is basically ‘Vietnam in Space’ with Space Marines fighting against hordes of seemingly indomitable enemies, a major subtext of the movie is ‘parenthood’. On the surface that may seem a strange film to reference, but once one understands that this song and album are suffused with the memories and grief of lyricist Yogi Lang, it makes more sense. A memorable peculiarity is the quotes from James Cameron’s 1986 movie Aliens. The Pink Floyd comparisons are unavoidable, particularly when one of the lines states, “I set the controls for the Heart of the Sun” – you’re never too far away from a Floyd reference with these guys.
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The opening duo of Hole in the Sky pieces will be quite familiar to fans who have never heard God Has Failed as they have been an almost constant feature in performances and live albums ever since… and there’s a reason for that – it’s a quality, towering song full of a mixture of melancholy and drama. The original album is now out of print, so it does seem valid for the band to revisit an album which many of their later fans may not have or heard. As ever, RPWL stick fairly closely to the template of their original songs in these live renditions, but there are some appreciable differences which give this version more crispness, resonance and, at times, delicacy… and let’s face it, a band which has been working successfully for over 20 years will have developed its skill and touch as a performing unit. Roll forward 20 or so years and this performance takes those raw personal perspectives and presents them with added sensitivity and subtlety. The intensely personal nature of the songs, borne out of the grief and reflections of singer Yogi Lang after the loss of his father in the period leading up to the album, is clear. Nevertheless, it was still an impressive debut. Their original album was a confident debut 20-plus years ago, but it did show some signs of their relative inexperience. What struck me is the obvious maturity and assurance that the band now bring to this early material. It would be interesting to see what the passage of twenty years has affected this music and how it is presented. However, this was not really a ‘gig’ recording – more of a ‘live’ studio performance of a whole album, much of which has not featured regularly on their live albums, so it does not really feel like just another live album. In that context I will admit to approaching this album with some trepidation, having had previous reservations about the multitude of live releases. One question we could ask ourselves is, ‘Did the world need another RPWL live album?’ as this is at least their ninth live release in just over 20 years, many of which have similar setlists.
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Yet again they demonstrate what a classy and high quality live act they are with an impeccably performed and produced album.
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Instead, this renowned German progressive rock band decided to re-record the album in a live session and are releasing it as God has Failed: Live & Personal.
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RPWL had intended to mark the 20 th anniversary of their debut album God Has Failed with a tour in 2020, but we all know why that was not possible.