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.