Yuka Funakoshi is back in the saddle again! This spectacular keyboardist, composer and vocalist is surely one of the more fascinating characters in the Prog universe. Together with the unchanged stellar Chronoship trio of Takashi Miyazawa on guitar and the rhythmic tandem of stun bassist Shun Taguchi and the incredible Ikko Tanaka manning the drum stool, a seven-year itch is finally scratched. All of this Japanese band’s albums are littered with both technical prowess as well as creative prog discourse than can flirt with many of the subgenres (neo, symphonic, heavy, fusion) and Yuka finally returns to the scene with a more subdued, mature and sensorial release. Hence, on my second audition, I was tempted to shun both light and distraction , by just letting my mind wander to the effusive notes played.
The title track initially teases the senses with a lullaby/ambient intro that elevates immediately into a piano /mellotron duet (we love those) setting the tone for Chronoship to bustle into the arrangement. A 9 minute + joy ride where Yuka’s gliding voice sweetens the pot, creating a swirling image of a lace monarch fluttering with both grace and impunity, the mid-section vaults into a sizzling up-tempo jazzy passage, flavored by a synth spin and a brief return of the piano and mellotron coupling. The build-up shines brightly on Miyazawa’s tortuous fretboard exhibit but just like a butterfly, this arrangement saunters gracefully from one place to another.
On “Aunt Clairvoyance” , a change of pace into a medieval ditty where the recorder sways in a breezy reverence, with chanting vocals that spellbind, clapping hands and the nearly Oldfieldian imaginary emit together a playfully imaginative digression. Right on its tail, the “Children of Yewtree” sustains an organ-led march, still very much Middle-Ages inspired, a Banks-ian piano straight out of the Lamb does comes a momentary surprise, and the sombre synthesizer spotlight is exquisite in its restrained and unhurried delivery. Smooth as silk.
The brooding bass lubricates the impeccably alluring piano on “Hourglass Cove”, a morose piece with symphonic intricacies, a cautionary yet beautiful depiction of time and place, with intersecting moods that ultimately highlight the stormy expanse, waves colliding with the shoreline as it segues into “Chronoship” , a vessel finding its harbor, so to speak. Once again, the deliberate control comes as a most welcome trait, reminding us of the good things that happen to those who wait. The relentless piano once again weaves a regal sonic tapestry that is insistingly gorgeous, a melody that hits the spot. Throw in a mellotron shaft to illuminate the next phase, a stunning bass solo (we love those) that gets shouldered with an obedient keyboard and guitar flurry. All along the main melody remains entrenched in the arrangement, this is a marvel.
“Polar Dark” keeps the focus sternly on this sublime contrast of icy symphonic and warm classicism, though the band ratchets up the tempo with some impressive bass/drum interventions. The groove is paramount, and these veterans can certainly impress, forging an intoxicating impression of imaginary voyage, possibly my favourite segment of this charming album. Melodically outstanding and expertly crafted and played, Yuka does something to her keyboards that goes beyond the predictable.
The intriguing title is already incredible, “Sleeping Girl in the Stained Glass”, the music even more so, a combination of haunting vocal delicacy and an exhilarating organ etude (we love those too), delving deep into the hallowed hall of fame of classical prog, harmonically solid, each note having a resounding meaning, a trait I found littered throughout this album. The organ harkens back to the days of Trespass, that bold sense of a knife slicing through stagnation (hints!). Another winner.
The more ambient direction is maintained on the aromatic “Planetary Cleansing”, another platform for creative ruminations, albeit relaxed, reflective and yet never soporific. The variations occur with a short-lived vengeance, the spirited electric guitar signaling a shrieking shift from the calm, as both Taguchi and Tanaka press down on their pedals. The return to introspection underlines a reverence to Japanese traditional music, with its subtle sonics, sedate impressionist colorations and feelgood peace.
This remarkable culture has many unique attributes that are painstakingly maintained by tradition, such as respect and love for parents , as expressed on the heartwarming “Mummy and Daddy”, a gloriously thoughtful piece of music. Simplicity and honesty hold hands, like mother and child, in the park, as birds chirp along with contentment. The opening xylophone-like lullaby makes a return engagement, just in time for the pillow and blanket and getting tucked in bed for the night.
Thoroughly enjoyable and distinctive album from a world-class quartet.
4.5 papillon streamers
