With track names like “Ritual,” “Hope” and “A New Quest” there certainly was the intent of a narrative. The counterpoint to all of these accusations is that the record is clearly intended to weave some sort of narrative. Though the rest of the record is flawed, this track is certainly worth a revisit. It weaves an internal narrative of glory and strife that the other tracks so rarely reach. To provide the record with some credit, the closing track “Endless” is emotionally gripping and triumphant. But none of this can save “Hope” which doesn’t even begin to earn its runtime, another significant flaw of the record. Predictably, it also floats along, though we at least get some decent atmospherics from the background synths. “Hope” on the other hand, as the longest track on the album, should go through a boatload of dynamic ranges. It’s an exercise in tension, but it never makes you tense. It repeats the same synth pattern, occasionally pushing the background bass thrum into the foreground to keep things a little more interesting. The two most blatant offenders are “Shores of Oblivion” and “Hope.” The former, given the name, aims to compel a riveting sense of dread.
As a result, the track is tepid and dull, which is even more upsetting when you realize it’s one of the more interesting tracks on the record. It just adds layer upon layer without really the dynamics of the track. The opening track “Depths of Power” threatens to have dynamic range but always stops short of developing anything interesting. What we’re left with is a meandering, far too long album that never settles on a destination worth reaching.īreaking it down track by track, these flaws become even more apparent. Each track is too slow to be a compelling dance track, but also too in your face to drift into ambient like Tycho, or just vibes like TOKiMONSTA. The issue is that it never commits enough to a single one to excel. Magic Sword, if one had to venture a guess, is shooting for some combination of vibe and dance. Though there are exceptions to these three categories, most electronic artists tend to fit into at least one. Most electronic groups either choose to be more dance-focused, drop focused or vibe focused. While one can appreciate when bands and artists subvert typical song structures, that isn’t exactly what Magic Sword is trying to do here. They performed as an opening act for several headliners such as Sarah Vaughan, Carmen McRae, Cal Tjader, Marcel Marceau, Stan Getz, Mongo Santamaria, pianist Bill Evans, Jerry Garcia & Merl Saunders, Dizzy Gillespie, Joe Pass, Cleo Laine, and Herbie Mann.To paint a broad picture of the flaws inherent in Endless, it comes down to dynamics. The Stuart Little Band became the house band of the Great American Music Hall in 1973-1974. In the same year, the hall was given its current name.
Tom Bradshaw eventually purchased the concert hall in 1972. The venue was used by members of the Loyal Order of the Moose in the 1950s. The venue closed at the end of World War I and reopened in 1948 as a jazz club. The Great American Music Hall was acquired by Sally Rand, known for her fan dance and bubble dance acts, in 1936 and branded the property as the Music Box. Some notable entertainments include burlesque dancing and rock and roll concerts, jazz, and folk music concerts. The concert hall's seating capacity is approximately 500 providing decorative balconies, frescoes, and columns for guests. It opened for the public in 1907, and it is under the ownership of Slim's Presents. The Great American Music Hall is a concert venue that is located in San Francisco, California.
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