Following up to the 2021 release Anomalia, Jane Getter Premonition has proven to be a band that has shown no sign of stopping. The progressive and jazzy effects between Getter’s incredible guitar work, followed by Adam’s exercises throughout his keyboards, you can tell they create magic together between the two of them.
The new album Division World, released on the Esoteric Antenna label, is one of her strongest releases to come out this year. It follows her on the same path to embark on this spiritual journey with complexity, daunting challenges, ominous arrangements, moodier settings, and the moment to break free at any second after being chained up for many, many years.
And to be allowed to have guitarist Alex Skolnick, Paul Frazier on bass and vocals drummer Gene Lake, and guest vocalists Randy McStine, they prove themselves that they aren’t just band members, but more like a family to keep Getter’s train engines running by reaching those dark territories to embark on whilst confronting their demons, nonstop.
Continuing where the Porcupine Tree sound had left-off from the Fear of a Blank Planet years, ‘Dissipate’ featuring a growing synthesized atmosphere Adam leaves tracks upon the listener, discovering missing clues he has left for them. It has some gentle approaches, followed by heavier attacks with eruptive riffs and a volcanic guitar solo. This ain’t your daddy’s prog album!
‘Compass’ sees the Premonition returning to the Bay Area Thrash Scene where I believe its Alex Skolnick and Jane Getter, delving into this duel of the early to mid ‘80s vibration when Metal was at its peak. There are some stronger elements to the Kill ‘Em All-era from Metallica, having delicious hypnotic tea with the Discipline years of King Crimson to go along with the chutes and ladders routine they’re playing tag, followed by a beauty and the beast route from thrash, post-rock, fusion to new wave.
The opening title-track which has a tightrope effect that makes you hang on to dear life, plays into a clock-ticking momentum where Getter and Frazier go into this head pouring sweat orientation to make sure the bomb doesn’t go off. Making sure the wires are in the correct order; Adam adds the intensity to his flaming fiery momentum on the keyboards.
But then he reaches for his synths to ‘End the Blame’ on the intro, as the mood switches into a laid-back ride crossing the north section with its alternative route Getter embarks on to blare out her pain, crying out into the night as the moon reveals to be in this full bright of massive power.
Adam comes down to the heavens to lend Jane his hand as they walk towards the spiral staircase of being free from all of the chaos that’s upon ‘Layers’ and layers of beautiful piano textures Holzman endures. ‘Waiting for the Light’ gives McStine a chance to shine to soars through the skies in this lukewarm crisp of seeing the sun in all of its glory, Getter brings it all home to make sure everything is okay.
