ALBUM REVIEW: Joe Satriani – Black Swans and Wormhole Wizards

Black Swans and Wormhole Wizards is Joe Satriani’s first solo album since unveiling his side project, the ‘supergroup’ Chickenfoot, last year. His fourteenth in total – not counting the numerous collaborations over the years – the album has proved to be one of his most anticipated in years. First appearing on the scene during the mis-1980s with classics like Surfing with the Alien, Satriani (or Satch to his fans) has long been one of the most acclaimed guitarists of his generation and has inspired every musician from Kirk Hammett to Steve Vai. Throughout his phenomenal career he has worked alongside the likes of Alice Cooper, Yngwie Malmsteen and Ian Gillan, whilst continuing to record as a solo artist. Twenty-six years on from the release of his first self-titled EP, is Satriani able to continue wowing his listeners and staying ahead of his contemporaries?

Black Swans and Wormhole Wizards is notable for featuring a more funky vibe than much of his recent work. Whilst the album is basically a showcase for his guitar skills and makes little attempt to demonstrate the skills of a drummer, there are a few bass riffs (such as on the track Light Years Away) that perfectly compliment Satriani’s playing. There is little room for ballads, with the majority of the songs being relatively straightforward but loud enough for Satriani to do his thing. In fact, the weakest track on the album is Littleworth Lane, a slow-paced blues number that seems somewhat out of place amongst the rockier tunes.

The album opens with Premonition, which pretty much sets a standard for the entire record: strong rhythm and solos that often follow the melody that a vocalist would sing. But without the aid of a frontman, Satriani is the star of the show and, whilst not his most complex or jaw-dropping work, the song once again has a funky rhythm section and melody that is instantly memorable. Beginning with a wah-wah pedal, Dream Song lives up to its name with a hypnotic backing guitar throughout, although perhaps the standout track is Pyrrhic Victoria, a truly funky song that will no doubt sound far superior when performed live. In fact, this could be said about the entire album, as it is at times a little too polished and overproduced and lacks that rawness that Satriani gives in his live performances.

The Golden Room boasts an almost Indian vibe with its percussion and is certainly one of the more unique tracks on the album, moving away from the rock sound and providing something more ambient and enchanting. Wormhole Wizards is perhaps the funkiest and most danceable of the songs and has an ‘80s charm that becomes addictive. Overall, Black Swans and Wormhole Wizards is an upbeat album that provides enough highs that the few lows (a pointless one minute track called Solitude) can be overlooked. Satriani may have performed this kind of material before but he does it well and some of the songs are the best that he has produced in years. In particular, Pyrrhic Victoria and Wormhole Wizards are two tracks that should translate well to the stage for his upcoming tour.