Never was a big fan of reviewing a single or an EP, anything shorter than 30 minutes was always a heavy burden, perhaps due to my “opus” fixation, wanting a full-blown experience to savor. There are thankfully exceptions, generally caused by the sheer quality of the sampling, and specifically in this case, where the vocal excellence is beyond belief. While prog has no slouching in the instrumental department, there are too many times when the male vocals are under par, often decent and at times mediocre. Greg Lake (RIP) still dominates vocal polls today and rightly so; he was a jewel in the crown. My favorite three prog sons: Marc AtkinSON, Tony PatterSON and Damian WilSON are among the very best in the UK, but here comes a fabulous new contender for the throne in Paul Sadler, whose first encounter with me was with the first two Haven of Echoes albums, which managed to impress immensely the prog community as well. What a pair of lungs, tone control and delivery! Paul has made his name with UK band Spires, as guitarist, vocalist and composer, as well as releasing a debut solo album in 2020. In 2022, he preformed in concert settings as a trio (guitar, violin and cello) which forms the backbone of this precious recording, adding bass courtesy of Alex Jolley, John Simm on drums, Andreas Hack (Haven of Echoes partner) on keyboards as well as three guest backing vocalists.
Four compositions adorn this lovely package, leaning heavily on the folkier aspects of the imposing strings, relying on pastoral themes with colossal melodies and absolutely brilliant vocal harmonies, counterpoint and a capella. In fact, the singing offered here are some of the finest this reviewer has heard since the glory days of Gentle Giant. This remarkable trait shines from the very first notes of the celestial “Stowaway”, where the mellifluous voices are expertly interwoven with the Alison Lansdown cello and Imogen Lyons violin, Paul in the lead and the vocal trio right behind in collateral furtherance, the instrumental backing of acoustic guitar, keys, bass and drums deliberately swaying in the background. A tale of escapist solitude, desperate flight from some terror past, where fear, secret sorrows, cleansing of sins and justification for past deeds ,all unite in taking a path to obscurity.
The cleverly titled first single and video is for “A Song of Everything and Nothing”, a song about the ultimate, cold, and hard reality that the universe cares not a bit four us. It is rather up to us to care for it, as its inherent ‘beauty even as we understand it, is merely accidental’. Powerful words, fragile notes from the Andreas Hack piano and a sombre cello (such an intense instrument), all coalesce to supplement the theme with persuasive lyrics. Paul hits the higher registers like a swan spreading its wings, ready to fly into the wild blue yonder. The waltz-like outro is masterful. Ckeck out the video on YouTube.
Inspired by one of France’s greatest poets in Charles Baudelaire, (les Fleurs du mal was the subject of my thesis, back in the day) ,“A Passing” seeks inspiration in his “Une Charogne” (a carcass), daring to shine the spotlight on the incredible lyrical content of a story that ends tragically, whereby beauty can be found in everything, life leaping forth from death, or the demise of love itself. I mean how can one stay indifferent to words such as:
“Imagine the ghosts we could be my dear
Freed from these carnal confines
Though stench and decay will become you someday
Your phantom shall ever be mine”
I mean, gulp! The scaffolding strings emphasise the decomposition of mind and body with fleshy perception, the vocal both caustic and yet subdued in its submission to fate, a harrowing ‘dancing on the grave‘ anthem. A divine feast for the ears and the soul.
The Title track leaves no prisoners behind, a waspish irrationality of lyrical disbelief (I rejoice without cause, and suffer without reason’), a perplexing melancholia, knee-deep in voluptuous introspection, perhaps even straddling a sense of pending insanity, or at the very least, dismal surrender. Acoustic guitar, the delicate string orchestrations and a beseeching voice, a diaphanous veil that weighs heavily on the soul, that is all that is required on this tragic finale.
This is not a neo-prog, crossover, Krautrock, RPI, Fusion, Celtic or any Post/Zeuhl/Space variation, but a rather unique, one of its kind, personal, jewel of an album, that exudes a specialness rather uncommon in contemporary music. I would strongly recommend this to the reflective musical fan, in need of gentle persuasion.
Out in the new year, please check this one out!
4.5 foolish reveries
