Send "Peter Gabriel " Ringtones to your Cell 
| Popmatters |
 Last year, Peter Gabriel gave us the superb Scratch My Back, a cover songs album intended to be the first part of a sort of mutual appreciation project. Gabriel’s grand plan was that his record would be later joined by another release featuring the artists whose tunes he reinterpreted, doing him the same favor with his material. However, that intended companion album has since stalled, so for his latest LP New Blood, the musician has decided to pick up the fumbled ball and carry it to the goal line by essentially covering himself.Incorporating selections from all corners of Gabriel’s solo songbook, New Blood follows the template established by Scratch My Back, offering familiar compositions in new arrangements (once again overhauled by regular Gabriel collaborator John Metcalfe) where rock instrumentation is replaced by orchestral strings, woodwinds, and brass, with piano making occasional appearances. With Ben Foster conducting the 46-member-strong New Blood Orchestra, this enterprise lends itself most suitably to touching ballads and sweeping emotional gestures, so don’t be surprised that certain, more energetic Gabriel staples such as “Sledgehammer” and “Shock the Monkey” didn’t make it onto this tracklist. Though following similar remits, what mainly separates the two records is subtlety. Scratch My Back was carefully considered, its grandiose moments tempered by an understated delicacy that was found in abundance. New Blood often trades in high drama, inundating much of the record in epic symphonic dread. “Rhythm of the Heat” is dominated by ebbing, thrusting strings that might bring to mind an impending battle upon the plains of Middle-Earth. Later on, “Darkness” is characterized by an ominous march rhythm and pulse-pounding performance by Gabriel that adds hearty slices of danger to its fairy tale vibe....full text |
| Guardian |
| Where last year's Scratch My Back saw Peter Gabriel remodelling some of his favourite songs by other artists with just voice and orchestra, New Blood – as its title implies – sees his own back catalogue getting the same treatment. Tense, brooding and often raw, the artist's world-wearied voice is cast off against a dramatic backdrop, the results not unlike a darker take on Elbow's experiment with the Hallé Orchestra. Rhythm of the Heat gets thundering kettle drums, and San Jacinto quiet orchestral storms. The sparser arrangements really bring out the beauty of the lyrics of songs such as Wallflower and Don't Give Up, songs of defiance and optimism amid despair. It's powerful and beautiful, reflecting the 61-year-old's maturity, although the bleak and sombre mood is occasionally heavy-going and won't suit everybody. In the absence of guitars, Games Without Frontiers or Sledgehammer, Gabriel's neglected pop constituency will have to make do with the closing, delightfully airy remake of Solsbury Hill....full text |
| Examiner |
| In concert with the New Blood Orchestra, Peter Gabriel didn’t rock the house at the Woodlands Pavilion during his first of only two Texas performances this weekend. Instead, Gabriel astonished, with a more spiritually stimulating, and intellectually stirring presentation. People who understand, know Gabriel continues to pioneer and expand awareness—as if delivering a new and cosmic form of wisdom from another world—just as he did with ‘Sledgehammer’ and ‘Shock the Monkey’ with some of the most cutting edge music and videos during the dawning days of VH1. The orchestra was just as important to the concert as the singer. With the music arranged in wide cinematic style, Gabriel incorporated multi-media created for the compositions. His design elements added a live painting of color, images and motion to the show. All these extras complimented his voice. The venue and concert seemed to be one of contrasts. Houston heat and humidity gave way to a pristine breeze as dusk turned to dark....full text |
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