Gaudi (1987)
We love Gaudi. Everyone say it with me. “We love Gaudi”.
Gaudi is the final studio album by The Alan Parsons Project, and what a way to go out. The record is named after the famous Spanish architect Antoni Gaudí, and while it’s not immediately obvious why the band chose to dedicate an entire album to him, it turns out to be an inspired decision. The concept, like a few of their later records, is less literal and more interpretive—it doesn’t lay everything out for you like Tales of Mystery and Imagination or I Robot, but it still feels thematically connected and carefully curated.
The album opens with the absolutely epic La Sagrada Familia, named after Gaudí’s unfinished cathedral in Barcelona. This track isn’t just a highlight—it’s the moment. Lush orchestration, dynamic vocal shifts, and a towering sense of grandeur make it one of the most unforgettable openers in their entire catalog. The band doesn’t often do “massive,” but here they go big—and it works.
Too Late follows, a melancholic track that touches on the tragedy and legacy of Gaudí’s death. Then there’s Closer to Heaven—sonically pleasant and layered, though admittedly, it lacks the replay value of the other tracks. Standing on Higher Ground, on the other hand, is an absolute 1980s synth-pop juggernaut. It’s catchy, it thumps, and it wears its neon headband with pride. Money Talks keeps the energy high with a punchy, mechanical rhythm that drives home the band’s continued love of blending prog and pop.
Inside Looking Out slows things down again—it’s a gorgeous ballad, emotionally rich and atmospheric, offering a nice contrast to the record’s heavier moments. And finally, Paseo de Gracia, the instrumental closer, ties the whole album together like a cinematic end credits scene. It’s sweeping, regal, and a perfect way to say goodbye.
Musically, Gaudi is a late-career flex. The band’s production chops are on full display here—meticulous arrangements, high-gloss sound quality, and a seamless integration of orchestral grandeur with 1980s pop rock aesthetics. You get synths, drum machines, light sampling, and a ton of atmosphere, all without it feeling overproduced or dated.
As a tribute to Antoni Gaudí, it’s elegant and ambitious. As a swan song for The Alan Parsons Project? It’s pretty close to perfect. Stereotomy may have wobbled the momentum, but Gaudi picks it up, rebuilds it, and finishes the band’s catalog on a high note.
If you’re into lite-prog with a cinematic scope, 1980s production with substance, or just flat-out good music, Gaudi deserves your time. A graceful finale from a band that mastered the art of concept without ever being boxed in by it.
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Highlight Songs:
La Sagrada Familia
Standing on Higher Ground
Too Late
Paseó de Gracia
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Own it, Stream it, Forget about it?
Gaudi is not the greatest looking album cover, but it sure as hell is one of The Alan Parson’s Projects greatest albums. It is worth buying, absolutely. Go buy it, now. I will wait.
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Overall Rating:
4.5 Stars
