"Hard Monkeys" and "I'd Love to Change the World" contain intriguing guitar riffs, but nothing much else of any distinction. "One of These Days" is a compelling opening track with good all-round instrumentation, even if it does drag on a bit. There are some worthwhile exceptions, however. Although bassist Leo Lyons and drummer Ric Lee provide the band with a foundation that is both workable and firm, Ten Years After does not use this rhythmic support to the best possible advantage. Chick Churchill's potential as an additional soloist, for example, is stupidly wasted by having him play only rhythm accompaniment on piano and organ behind Lee's numerous leads. Vocal melodies and guitar lines are virtually indistinguishable from one song to the next and few arrangements highlight anything besides Alvin Lee and his two, three or four guitar parts. The original material and arrangments are terribly lame. The record is an improvement over the disastrous Watt, but hardly a sufficient one. There are a couple of Alvin Lee guitar specials, several low key attempts at relevant social commentary, and a lot of underdeveloped unsuccessful music. A Space in Time, the group's first album for Columbia, re-hashes most of the material on the last four Ten Years After releases. Overall, I recommend it to those who love works of arthouse documentaries, regular cinephile might find it too long and boring but I will say that it is holds up till the end.Like a hamster running on a treadmill, Ten Years After is expending energy without moving. The film turned out to be incredibly beautiful, Rosie's diary segment was bittersweet, and the cinematography was splendid that I could pause it and screen grab it for wallpaper or would do good for an album art of a Black metal band. The last part of the film with 'magic realism' completes this picture about attempts to understand the changing geopolitics, Germany and love for it. Nevertheless, the documentary does not slip into too much of self-indulgence and it unfolds before our eyes with such a great composure. But it still has a special magic of its own. Even though the treatment of this documentary evokes comparison with Lakis Papastathis's Letters from America (1972), Sebastian Mez Metamorphosen (2013), Sophy Romvari's Still Processing (2020), Claude Lanzmann's Shoah (2014) and the works of Jenni Olson, Eric Pauwels, Sergey Loznitsa, Donald Winkler, Marie Voignier, Gianfranco Rosi, Catarina Vasconcelos, Robert Beavers, Mercedes Álvarez, Michael Pilz, Cynthia Scott, Laida Lertxundi, Jana Sevciková, Jean-Daniel Pollet, Marie Losier, Nicolas Philibert. It is through the images, looking at everything around through the prism of a past century that we accompany the director and experience all the buzz from the past college years, first love, growing up, world war facts along the bleak and empty territories. At the same time, the ease of presentation of the material is coupled with images filled with many symbolism and metaphors that help the narrative flow. The narrative is arranged a little differently and the most important element is the minimalism itself. He looks back on the events between Berlin and Vienna, from World War I to reunification. From the point of view of the director, the film traces back on the history of his family through archival memories. Unlike all the same pov tracing history docs, " Heimat Is a Space in Time" goes into pure poetry, it is slice of history and life. This is a melancholic documentary, and it begins to play in a completely different way.
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