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 GRETA VAN FLEET The Battle At Garden’s Gate By Andrew Depedro, Ottawa Corespondent Monday, April 12, 2021 @ 12:10 AM
While the band still rely on the powerful 5-minute plus opus and the bouncy road tune follow-up as their inaugural icebreakers on this album, as is the case with the breezy-sounding “Heat Above” and the road-trippin’ “My Way, Soon” respectively, it’s by the halfway mark when GVF become more lyrically abrasive and darker on songs such as “Built By Nations” and the nearly 7-minute long “Age Of Machine”. If frontman Joshua Kiszka denouncing modern society’s increasingly perilous overdependance on technology with glaring apocalyptic lines such as “God machine/Malfunctioned as it grew/And the circuits blew/Falling down on you” isn’t the closest lyrically that the band will get to invoking FEAR FACTORY – or even imagining what ARMORED SAINT’s “End Of The Attention Span” would sound like if written by Robert Fripp of KING CRIMSON but without his better half dancing along to it – then I’m at a loss as to what is. With that said,
In summary, The Battle At Garden’s Gate is the sound of a matured band poised to defy their critics and making their presence known through a conceptual album that signals the divide between the current human psyche. Yet, while GVF had previously battled their detractors for evermore throughout their burgeoning career, their sophomore release also showcases a band ready to guard themselves against any and all of their adversaries with a new anthem for an entirely new army.
4.5 Out Of 5.0
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the rest of the album sees the band make good on its intention to broaden their musical scope; it’s not like ZEPPELIN’s the only 70’s band they ever listen to. Tracks such as “The Barbarians”, “Trip The Light Fantastic”, “Light My Love” and the nearly 9-minute closer “The Weight Of Dreams” see some forays into some rustic YES and PINK FLOYD territory – with a layover into some bouncy reggae in the form of Watching The Detectives-era ELVIS COSTELLO and ELECTRIC LIGHT ORCHESTRA ‘hood in between judging by the tone of “The Barbarians” and “Trip The Light Fanstastic” respectively – thanks to some brilliant Moog synthesizer magic from Samuel Kiszka while he’s moving back and forth from keyboard/bass duties.
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