the band ’ s foundational partnership to the fore . The sound gradually expands in scope as the song progresses and draws the listener into the overall album experience . Next is the album ’ s cinematic title track , the lone cut on the album that sounds like it might have been drawn from sessions for Seeds or Songs from the Big Chair . “ Long , Long , Long Time ” follows , featuring Smith ’ s keening tenor and pulsing waves of EDM-styled bass in the verses . From here , it ’ s clear that Tears for Fears respects the sound of its past while having no intention of being shackled to it . “ Break the Man ” is urbane , club-friendly disco-pop wherein Smith and Orzabal sing a chorus that may be a blunt criticism of patriarchy . Alternately , it may be a bewildered reflection about being overwhelmed by the unstoppable force of a confident woman and navigating a committed relationship that ’ s worthwhile despite being harder work than anticipated . The sound of this trial by fire is ignited with paradoxically blissful harmony . One of the roadblocks to releasing new Tears for Fears material was Orzabal ’ s protracted effort to care for his ailing wife , who passed in 2017 . Some earlier songs were replaced with fresher material including the emotive “ Please Be Happy ,” through which Orzabal pours out his heart to come to terms with his childhood sweetheart ’ s decline . The song ’ s swelling and sweeping chorus reflects Elton John ’ s “ Goodbye , Yellow Brick Road .” “ You know that I can ’ t love you more ,” sings Orzabal during the urgent title cut , which keeps grim watch for an inevitable point of no return . After working through health issues of his own , the weathered trials and perspective were apparently sufficient to reinforce to Orzabal the importance and value of his partnership with Smith . Renewed focus and motivation was the result . Orzabal seeks to find himself on the McCartney-esque “ Masterplan ,” and experiences glorious renewal during the euphoric electronica of “ End of Night .” Other songs following the pair ’ s reignition reflect difficulties of the modern era . “ We ’ re not one of you , you ’ re not one of us ” sings Orzabal during the hard-charging “ My Demons ,” reflecting deeply entrenched social division . Piano balladry and lush orchestration mark “ Rivers of Mercy ,” which begins with sounds of civil unrest in the street including horns , sirens , shouting and gunshots . The soothing song speaks to the disenfranchisement that led to the Black Lives Matter movement and the pandemic isolation that exacerbated the tension of the year 2020 . A regal choir joins the chorus . The song remains hopeful while reflecting a season that was tough on hope . The mood is reminiscent of Peter Gabriel ’ s “ Blood of Eden ,” while pointing toward a different sort of reconciliation . Closing song “ Stay ” is a remnant of the band ’ s 2016 first cut at following Happy Ending , and one of two previously unreleased songs to appear on 2017 compilation album Rule the World : Greatest Hits . Smith ’ s longing melody and the lyric ’ s tug of indecision remain as haunting as ever in the new version . However , the musical trappings are more nuanced and vibrant now , making the Rule the World version sound like a demo . If this change is indicative of the album Tears for Fears left behind in pursuit of The Tipping Point as released , then perhaps it really was worth the wait .
The new album may not match the unprecedented impact of Tears for Fears ’ spectacular first three albums , but it ’ s very good work . This is engaging and compelling music created by a partnership that has not exhausted its creative potential , and in fact seems to have rediscovered it . With luck , fans won ’ t have to wait 18 years to hear how Tears for Fears evolves again .
– Jeff Elbel
7 may 2022 illinoisentertainer . com 19
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