While You Wait
Fading
Action
Future
Attraction
We've come too far
We can't turn back
We must go (all the
way)
People
Passion
Faces
Fashion
We've come too far
We can't turn back
We must go (all the
way)
While you wait
Sections
Stations
Notions
Nations
We've come too far
We can't turn back
We must go (all the
way)
Cities
Distance
Strangers
Resistance
We've come too far
We can't turn back
We must go (all the
way)
While you wait
We can't turn back (all the way)
We can't turn back
No
We can't turn back (all the way)
We can't turn back
No
We can't turn back (all the way)
We can't turn back
No
We can't turn back (all the way)
Distant
Traces
Other
Places
We've come too far
We can't turn back
We must go (all the
way)
Visions
Chances
Sequence
Dances
We've come too far
We can't turn back
We must go (all the
way)
While you wait
We can't turn back (all the way)
We can't turn back
No
We can't turn back (all the way)
We can't turn back
No
We can't turn back (all the way)
We can't turn back
No
We can't turn back (all the way)
We can't turn back
No
We can't turn back (all the way)
We can't turn back
No
"We've come too far, we can't turn back, we must go all the way".
An anthemic statement that burrows into your brain.
Repetition: 'While You Wait' makes it an art form. Repeated words. Repeated verses. Repeated choruses. Repeated chords. Repeated effects. Repeated rhythms. Repeated percussion. A whole verse can be just 4 words. It's crushingly effective.
This is a statement of how simplistic, metronomic elements can be converted into a mammoth wall of sound. And I just love the synth-bass sequencing. "Sequence Dances" - one of my favourite NM phrases, it marks a meeting point between my obsession with EM and NM. New Musik were synth kings!
Uncompromising? Yes. Boring? NO!
A fantastic end to side 1. Side 2 beckons.
We can't turn back. We must go all the way!
(Graham G)
A great, mean, synth bass line makes this track stand out. The beat also makes it a highly danceable number - very energetic throughout.
Maybe it would have proved more popular than "Luxury" as a single?
Great touches? Lots of those bell sounding synths again. Electric guitar. No sonar effects but a slightly similar but much 'bigger', emphasised whooshing effect is used. And of course, lots and lots and lots of repetition!
But who sung the "We've come too far... We can't turn back... No!" vocal? Sounds like Clive, but only Tony is credited on my CD with vocals? Excellent use of emphasised stereo effect in any case. The sibilance on Tony's vocal suggest he utilised his favoured 'lots of compression' technique.
Sexy female backing vocals remind us (with pre-echo) we must go "all the way"... (ooo-er!). But was Tony trying to tell us something deeper here - questioning mankind's relentless pursuit of 'progress', for better or worse?
94/100
(Richard M)