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Fearful Symmetry

Rate It! Avg: 5.0 (21 ratings)
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Fearful Symmetry album cover
01
A Sigh for You
3:59
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02
The Pool
3:52
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03
Sleep Silent Child
4:44
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04
Neverland Ballroom
3:23
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05
Strong Points, Weak Points
3:59
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06
Instruction Thru Film
3:25
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07
When Moonlight Sleeps
3:59
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08
Sudden Heaven
3:28
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09
Shadow Catcher
4:38
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10
Beautiful One
3:33
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Album Information
EDITOR'S PICK

Total Tracks: 10   Total Length: 39:00

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Ahead of its time

Kurzbein

At least for the so-called Christian market, this record was way ahead of its time. It probably goes without saying that it didn't sell well. Listening to it now some 20 years later one gets the sense of the ambition of the record. (Darryl Cater couldn't be more right about the ambition and the tinny production.) A listener had to bring a lot to the table to digest this record. Nothing is spoon fed either musically or lyrically. This listener didn't know what to make of it then. Now, I respect it as pure artistic expression even if I no longer share songwriter Terry Taylor's spiritual perspective.

They Say All Music Guide

Fans of Daniel Amos’ early guitar rock may regard this new wave pop album as an artistic surrender to the electronic trends of the 1980s. But this album is in fact a good deal more creative and intelligent than most of the Euro-synth music that influenced it. The band (identified only as DA this time) does invoke the computerized stylings of Depeche Mode, Human League, and Alphaville, but echoes of Pink Floyd are equally audible. Terry Taylor’s verse is at its most sublimely lyrical, describing familiar Christian theology with a fresh mysticism. In Taylor’s hands, doctrine that in lesser hands would sound sterile is full of shadows, beauty, fear, and hope. DA has made an interesting choice: to use this trendy, much-debased synthetic pop genre as a context for its most poetic material. There is a sizable dose of Taylor’s usual goofy humor and biting cleverness (“Sudden Heaven” is a manic electronic hoedown; “Instruction Through Film” mocks campy ’50s educational films while taking shots at moral legalism), but there’s also a good bit of serious literary allusion (the album title is a reference to William Blake’s “Tyger! Tyger!,” “Beautiful One” paraphrases Robert Frost, and much of Taylor’s poetry evokes the spiritual awe of Gerard Manley Hopkins or T.S. Eliot). Unfortunately, the low-budget pop sound does sometimes slip into the tinny hokiness common to the lesser purveyors of ’80s pop. But DA’s high ambition never falters. – Darryl Cater

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