John Holden - Circles in Time

 Over the past few years, John Holden has gained a much-deserved reputation for producing some finely-crafted Progressive music, in the vein of the classic era of the genre, on the strength of his first two albums: 'Capture Light' (2018) and 'Rise and Fall' (2020). That reputation is now further enhanced with the imminent release of his third offering - 'Circles in Time'.

Like its predecessors, the songs on this album are written mainly by John, with lyrics by John and his wife Elizabeth, but the realisation of John's vision is enhanced, as ever, by a stellar cast of musicians and others, some of whom have worked with John in the past - Marc Atkinson, Zaid Crowe, Oliver Day, Nick D'Virgilio, Peter Jones, Sally Minnear, Jean Pageau, Joe Payne & Vikram Shankar - while others are new to John's work on this album - Robin Armstrong, Frank van Essen, Eric Potapenko & Henry Rogers.

The album opens with 'Avalanche', and opens with drive and pace - crashing, tumbling drums and cascading guitars - before settling into a steady pace as Jean Pageau's vocals enter. The chorus is a good hook, and gives a memorable structure to the song, which explores the the odious habit of trolling on the internet, and the impact that such activity can have.

'High Line' is a contemporary romance, set in the heart of New York City. Musically it puts me firmly in mind of Steely Dan, with a wonderful jazzy vibe and stirring vocal harmonies, both ably provided by Peter Jones, whose sax playing really sets the mood. We end with interplay between Peter's sax and Frank Van Essen's violin.

Inspiration for songs comes in many ways, and 'The Secret of Chapel Field' was sparked by the discovery of a gravestone in a village church commemorating the life of a young girl who was the victim of a 19th century murder/suicide. The story unfolds like a Victorian ghost story, as Marc Atkinson narrates and Sally Minnear takes the role of Mary, the young victim. There's a sombre, pastoral feel to the music, perhaps fitting bearing in mind the subject matter, but evocative, nonetheless.

'Dreams of Cadiz' is an instrumental track, rooted in the flamenco tradition of Spain,and Oliver Day brings some emotive acoustic guitar to add to, and dance with, the piano. There's a tantalising light and shade in the music, that builds as the music grows and bass, keys & drums are slowly added to the mix. Not a typical flamenco tune, but one that evokes the Andalucian spirit quite delightfully.

'Circles' is, I suppose, the nearest we get to a title track, and it focusses thematically and lyrically on thee drudgery at times of coping with recurring ill health: physical, emotional or mental. A nagging heart-beat seems to pervade the song, and the use of echo helps to reinforce the incessant nature of pain and dis-ease, yet Sally Minnear's voice brings a gentler and more 'manageable' air to the theme. And I'm left wondering whether the support the song references towards the end is solely human, or if there's some spiritual element there too (but maybe that's just me...?). 

The final track, 'KV62', is an epic of just short of 20 minutes that tells the story of the discovery in 1922 of Tutankhamun's tomb in the Valley of the Kings in Egypt by Howard Carter. For someone of my 'vintage' this evokes memories of the exhibition in London in 1972, which was fascinating for an 11-year old boy. The opening chords evoke the Middle East and take us to the burial some 3,300 years ago, with the richly sonorous tones of Jeremy Irons, as we accompany the young King on his journey to the afterlife. From there we are whisked away to the 1920s, as Carter and his sponsor, Lord Caernavon, wrestle with the decision whether to continue their search for the tomb. Joe Payne & Peter Jones tell the tale well, as the search bears fruit and the inevitable media circus ensues. The music continues to set the mood for the tale, building to a stirring crescendo as the site is opened and the treasures revealed, and moving to a melancholy conclusion as Carter is left to die in obscurity.

As always, John tells a wonderful story - or series of stories - and this collection is a delight, lyrically, conceptually and musically. It has been a pleasure to listen to this new set of songs, and I would commend it to any who appreciate fine musicianship at the quieter end of the Progressive spectrum. I can see this album featuring highly in lists in 10 months time, and if this is a sign of what 2021 has in store, it should be another classic year.

So, how's 2021 shaping up?

 Last year was, I think I mentioned in my last post, a strange year for most if not all of us. Many of the effects of 'Lockdown' on us - as individuals and as a society - are yet to be fully realised, but one thing I've noticed about myself is what I can best describe as an increased 'meh' to most things. The tedium of spending so much time in the same space, with little interaction with anyone other than the one closest to me, and very little change in scenery other than for my daily walk - usually over the same route - is perhaps beginning to have consequences for my overall mood and demeanour.

There have been some positives to this almost house arrest: I've got a lot more reading done than in previous years; I've spoken to my mother on the phone more frequently than I have done; I've explored more of Derbyshire during the brief respites between lockdowns. But I've missed just popping out for a day trip somewhere, or to visit family; I've missed going to gigs and meeting friends for a drink and a chat; heaven help me, I've even missed shopping!

As we have seen recently with the demise of Debenhams & Arcadia Group stores from what's left of our High Streets, shopping is now increasingly, and perhaps irreversibly, happening more on-line - as is meeting, working and worshipping. Will a return to 'normality' see that change back? Only time will tell.

Music has not totally stopped: new music has arrived this year, and there are four albums so far this year that have aroused my interest in some shape or form.

The first is the latest from Australian Mark Healy, who records under the name 'Hibernal', a sci-fi post rock project from Brisbane. The albums are a combination of instrumental, cinematic music and dystopian sci-fi stories which are always a delight to listen to, the music enhancing the tale very effectively. So far there have been seven such stories, and 'Infiltrators' the latest, is both disturbing, engaging and heart-warming in content. I would highly recommend any or all of them for your listening pleasure.

Secondly is the fifth album, and the first since 2014, from Prog 'supergroup', Transatlantic. Their latest offering - The Absolute Universe - comes as a 65-minute single CD, subtitled 'The Breath of Life' (Abridged Version) and/or as a 91-minute double CD, subtitled 'Forevermore' (Extended Version), and as a 97-minute 'Ultimate' blu-ray version. Only a Prog band would feel that 65 minutes is abridged, and needs extending to 91 minutes, or even 97! The music is typically Transatlantic, with clear vocal contributions from ex-Spock's Beard front-man Neal Morse and Flower Kings' Roine Stolt. There's nothing to my ears particularly surprising about this collection: it is cinematic, epic prog, emotively played and sung, and Neal manages to work his spirituality in as expected, but not in an overtly cloying way. There are subtle differences between the two versions, other than the running time which, for the completist, probably means that both are needed. The only oddity for me is that the closing track on both - a song called 'Love Made A Way' - has a closing chord that lasts almost 2 minutes (with other stuff happening over it)! If you like Transatlantic, you'll probably like this...

Steve Hackett has been nothing short of prolific over the past 10 years, with 5 studio albums, regular tours and 6 live albums from those tours, and he has now released his first collection of classical guitar music since 2008's 'Tribute' - 'Under A Mediterranean Sky'. This is wonderfully evocative - perfect for a dank, drizzly February afternoon - conjuring-up as it does the warm sun and azure skies of Italy and Spain.

And finally comes one of the most anticipated albums so far of this year, and one, like its predecessor, of the most 'Marmite' albums: Steven Wilson's 'The Future Bites'. Wilson has a way of managing to attract and repel equally; to strike both anticipation and disdain in the hearts of his listeners. The issue for many (I venture to state) is that his more recent albums haven't sounded like Deadwing, or anything else that Porcupine Tree recorded, but then if Progressive music continued to sound like it always has done, would it be 'progressive'? Wilson, it seems to me, is pushing the door (and sometimes the walls as well) of 'progressive' music, and perhaps taking it a step or two further. In The Future Bites there are 'flirtations' with Pop, and with EDM, but there are also - particularly in the Deluxe Edition 3-disc set (a concept that he wickedly appears to send up in the excellent 'Personal Shopper') some clear echoes of PT at their best. This is a telling critique of (post)modern life and its (at times) obsession with celebrity, 'retail therapy' and social media. It is a record which grows with listening: yes, one that jars at times musically, if one is not used to the different styles and genres used, but a forward-thinking piece of progressive music in a time of uncertainty and stagnation.

There has been other music this year, but there'll be time for that later (some of it's not released until March!). But let me know what you think...