Karnataka has evolved from its benign beginnings in 1998 as a classic British female fronted lead vocal, Neo-prog band into a platform of constant progression, with regularly alternating musicians as well as said new lead vocalists. The continuous (since day one) member is bassist Ian Jones, who has kept steering the artistic wheel into the future. Rachel Jones, Lisa Fury, Anne-Marie Helder, Hayley Griffiths, and now Sartori have handled the vocal chores with considerable savoir faire, injecting a very high level of quality to the often-poor lead vocal department within the prog genre. Eight long years have passed since the previous album Secrets of Angels, which was a resounding success musically and it was therefore more than time for another chapter, especially in view of the fact that this release is a Covid baby, born out of forced introspective inspiration, and certainly a great amount of reflective patience went into this new recording and it shows.
There are many fans of this style of prog, deeply enjoying the pleasures provided by groups like Mostly Autumn, Cairo, Panic Room, Three Colours Dark, Breathing Space, Iona, The Reasoning, Magenta, Illuminae and Chasing the Monsoon (the latter two fronted by Ian Jones) and so many more…So this is a comfortable option that always delivers mainly because it requires truly exceptional melodies to provide the platform for off the charts vocal performances. I am proud of owning and cherishing all the Karnataka albums as well as the numerous offshoots emanating from that nucleus of talents. The gorgeous cover art only serves to whet the appetite and I remain confident that this will be another cornerstone album for 2023. Ian has also surrounded himself with very capable musicians, what with Gonzalo Carrera on added keys, the deliriously in demand guitarist Luke Machin (The Tangent, Maschine, Cyan, Tiger Moth Tales and Illuminae) drummer Chris Allan formerly of the Sun and Protomythos and finally the obligatory Celtic chieftain Troy Donockley on the lovely Uilleann pipes.
To follow up on my first chapter’s final “reflection on patience and it shows” comment, there is a phenomenon I have recently noticed as quite the revelation, many bands choosing to kick off their new 2023 album with lengthy epics, perhaps due to the emergence from the lengthy and obligatory hibernation. The 11 and a half epic “All Around the World” offers a liberating post-Covid sonic travelogue, a finally off with the mask intrepidity that certainly galvanizes the spirit and delights the ear. A swooning introduction of sound effects sets the course, as the arrangement evolves into all members entering the stage together, signalling clearly that this will be a team effort. Sartori’s voice is immediately impressive, with a strong command and a great tone, putting any worry to rest as she proves to be equal of the great singers before her. Yes, its highly melodic story telling, highlighting lyrics directed at addressing the global concern of our ongoing destruction of our precious blue and green planet! Luke spews out his first of many sizzling, drizzling and fizzing lead guitar solos that litter the set list. As befits a classic prog epic, the peaks and valleys that nature provides are reflected in the contrasts between the bustle and the serene, a “tour du monde” that has all the requisites for sonic seduction.
An ornate piano introduces “Sacrifice”, a vocal showcase that displays the wide variety of Sartori’s skill and her ability to meander up and down the emotional ladder, with a convincing chorus loaded with celestial conviction. It also possesses a huge melody that remains long after the track has ended its run. Screwdriver guitar solo for the ages, the final surrender.
The driving, Chris Allen propelled “Look to the East” could be a reference to the ongoing troubles in Ukraine or is it about the tragedy of Syria. The sweeping Middle Eastern influences are overt and ongoing, as expressed in their previous opus opener “Road to Cairo”, a similarly sandstorm of sound and fury, once again sprinkled with imaginative words, sounds and voice.
The highlight track for me is the nearly 12 minutes of “Forgiven”, another same sized epic monster that is drenched is sensual forgiveness, elevated by a melody that seizes the heart and captures the soul, with a thunderous vocal performance from Sartori. The Gregorian chant-inspired Latin prayers are right down my alley, as she swoons and croons with absolved mastery. The sophisticated piano ripples, the potent lungs pleading, both densely championed by choir orchestrations and a fiery guitar exhortation that explodes into the ether. This is worth the wait and the purchase alone. It is the featured track video.
The vaporous elegance of “The Night’s Dance” offers another triumphantly gorgeous melodic line that can only slay this reviewer into kneeling at the shrine. Ian Jones wraps the perfect orchestrations with impeccable detail, his steady bass in complete harmony with Allen’s sturdy drum support. Accessible and melodic prog does not get better than this!
The futuristic inspired “Say Goodbye Tomorrow” is a melancholic rambler, certainly doom-laden as it is a cry for a fragile universe where one must search for “the truth behind the lies”, steadfastly resisting the endless negative narrative and ‘bringing life to a new day”. Its not just complaining but actually finding resolve and solutions.
The breezily sorrowful “Don’t Forget My Name” is another attractive emotional roller coaster, with lyrics that delve in memories, shadows, eternal sunrise, tears falling like rain, whispers in a daydream and an echoing “please don’t forget my name. Tight playing, sensorial impact, meaningful music in a simple, organic song.
And the megalodon-sized 25 minutes+ Goliath title track which stamps the crimson waxed seal on this perfect album, without any question the most mature production in the Ian Jones canon of releases. During the running time, all those ingredients that make Karnataka a melodic prog institution are up front and centre. Sartori’s suave delivery swerves between the bewitching Uilleann pipes that provide a dreamy and misty Celtic imagery, a cinematographic soundtrack where each instrument serves to impact the nodes and caress the soul with waves of beauty and passion. Luke Machin once again proves why he is one of the most sought-after axe slingers in Progland, combining immaculate technique with delirious feeling. He and Dave Bainbridge (ex-Iona and solo) are my current guitar darlings that crown the list of favourite musicians. The low-key piano driven second section is utterly dense with emotion, leading to a tectonic over-arching crescendo of soft and yet intense delight by our guitarist, a series of gut-wrenching solos to blow one’s right head off, a sonic guillotine that leaves no splash or drivel. Another plunge, another elevation, synthesizers ablaze, bass dancing in full embrace and the ride continually invites endless pleasure.
80 minutes of melodic adventure of the very finest quality. An easy top 5 release for 2023. I am sure that lazland (www.lazland.org) will concur in complete agreement, please check out his impending and surely glowing review. Yes, folks, its that delicious.
5 faraway hymns
