Instead, merely the front cover adorns each of the 14 gatefold cardboard slipcases, opting for a more consistent approach with the album info on each sleeve. As with Schmetterlinge, the album art has not been deemed important enough to be represented in full. The box isn’t without its flaws, however. Nevertheless, the dedication to such a decoration proves how serious the group are about presenting their music as never before. Unfortunately, it’s quite difficult to assess the rule without a stopwatch iTunes doesn’t agree, but only by a few seconds on each CD and it tends to give unreliable numbers anyway. While this sometimes involves sneakily adding a bit of spoken word (in German) about the history of the album to make up the time, for the most part, these are bona fide bonus tracks that don’t appear to have been cropped to meet the ’79:10′ rule. Good for them.) Seventy-nine minutes and ten seconds is also the duration of each of the 17 discs that comprise this box set, an astonishing aesthetic effort on the part of the band members who compiled this set. (Lupo and Eroc have apparently never listened to Transatlantic’s live albums Whirld Tour 2010 or More Never is Enough whose respective versions of The Whirlwind stretch to 79:52 and 79:46. There’s a lot to engage with here, so let’s dive right in.įirstly, what’s in a name? Seventy-nine minutes and ten seconds is, according to the liner notes, the maximum running time for a CD. Not only was Grobschnitt’s career longer and more varied with some arguably better results, but the depths reached by this expansive box set leave no stone unturned. If summarising Novalis’s career in Schmetterlinge was a daunting task, Grobschnitt’s 79:10 has proven to be a herculean one.
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