Album review of Eyes On The Highway

Time to a detour – Saybia drives reliable on the pop-rocks highway – a detour or 2 would be nice

Plenty of seconds have gone since the boys emphatic broke through with their sentimental and splendid poprock in 2002.
They gradually master the emotional genre to perfection. But the will to renew it, or move a chord or two, don’t seem to be there. It would be loved and hated at the same time. Properly first mentioned.

“Eyes On The Highway” continues, where “These Are The Days” ended in 2004. With well-produced, nice and well-phrased ballads, where it’s yet again the magical voice of Søren Huus, which casts, prepares and fire the bullets, which hit the bulls-eye several times.

After a weak opening, the title-melody manages with mysticism by a German piano, and a floating guitar riff to build up an intense mood, ending in many crooning-battles.

The albums best track, and by the way with a typical sound of Saybia, is with out a doubt “Angel”. Starting at a steady pace with soft Huus, who after the intro unfolds like a beautiful letter. When he sings: “Never felt so alone”, the words pierces through even the thickest armor. One of those songs where you, with fear and expectant look forward to the next chorus.

“Goodspeed Into The Future” is a refreshing, vital element among more down-toned melodies. This punch would have looked good on some of the other tracks to.

Saybia know their stuff, the strings from Prague Philharmonic Orchestra are steady, and the producers have worked close to perfection.

I still miss a couple of detours, which would break the predictability.

The album is impressive catchy, in spite of the predictability once in a while.

Rating

4 out of 6

Author

Simon Staun (Fyens Stiftstidende)

Original Danish version
På tide med en sidevej – Saybia kører solidt på poprockens motorvej – en afstikker eller to ville lune

Der er gået mange sekunder med søvn, siden Nyborgdrengene fra København så eftertrykkeligt slog igennem med deres rørstrømske og storladne poprock i 2002.

De behersker efterhånden den emotionelle genre til UG. Men viljen til at forny selv samme eller flytte sig en akkord eller to har kvintetten tilsyneladende ikke. Det vil blive elsket og hadet på samme tid. Sandsynligvis mest førstnævnte.

“Eyes On The Highway” fortsætter, hvor “These Are The Days” sluttede i 2004. Med velproducerede, velfriserede og velfraserede ballader, hvor det endnu engang er magiske Søren Huss’ stemme, der både støber, lader og affyrer kuglerne, der rammer plet indtil flere gange.

Efter en lidt svag åbning formår titelmelodien med mysticisme i form af tyst piano og et svævende guitarriff at opbygge en intens stemning, der ender i et messende klimaks med mange stemningslag.

Albummets bedste nummer, og det mest typiske Saybia-lydende, er uden tvivl “Angel”. Begyndende helt nede i tempo med en sagte Huss, som efter introen folder sig helt ud som et smukt udført gækkebrev. Når han synger: “Never felt so alone”, så perforerer ordene selv den tykkeste rustning. Én af den slags sange, hvor man både frygter og forventningsfuldt ser frem til næste omkvæd og de medfølgende øregangspiskeslag.

“Goodspeed Into The Future” er et forfriskende, vitalt indslag blandt mere nedtonede melodier. Den vildskab ville have klædt et par numre yderligere.

Saybia kan sit kram, strygerne fra Prague Philharmonic Orchestra er stabile, og producerne har ydet tæt på det maksimale.

Alligevel savner jeg et par svinkeærinder, der ville bryde forudsigeligheden.

På trods af at forudsigeligheden indimellem er formidabelt fængende.

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