JUMPING THE MILESTONE

In this last two months of 2022, the eighth discographic release in the studio for the Frisians of FLAMBOROUGH HEAD, always masterfully led by keyboardist Edo SPANNINGA, composer of the entire disc except for the final track and eponymous "Jumping the Milestone" but above all their first album for nine years and the much appreciated but also wrongly misunderstood "Lost in Time".

The composition of the group changed again with the return of Eddie MULDER, the former guitarist in charge this time of the bass guitar, an Eddie MULDER who had packed his bags in 2009 after "Looking for John Maddock". The new six string players Hans SPITZEN is a guitar teacher in everyday life and handles both electric and acoustic. Their music is always anchored in a classy neo-progressive, certainly without deep originality but always pleasant to our ears. Another notable change in the music of FLAMBOROUGH HEAD, a presence of the flutes (classical and recorder) of Margriet BOOMSMA much more important than in the previous opuses which allows a strong aeration of the music and a softening of the few fleshy parts which remained .

"The Garden Shed" introduces the album in a very brilliant way with the solo flute of Margriet BOOMSMA, the acoustic guitar of Hans SPITZEN and the evanescent keyboards of Edo SPANNINGA, a little over ten minutes of excellent neo progressive to Celtic connotation in places, more camelian from mid-piece when the flute and the electric six-string this time lead us to heights of indescribable beauty (10/10). What a start!!! Much better than a simple garden shed...:)

The following four tracks have an almost equivalent duration between 7:41 and 8:56 so let's see what differentiates them. "Tomorrow is Another Day", the shortest of the four begins (again) with Margriet's flute (obvious inspiration from his compatriot the patriarch Thijs VAN LEER), then his calm and dreamy singing on a new Celtic theme before the arrival of the guitar of the new kid Hans SPITZEN, a good pleasant piece which is more song than progressive, below the previous piece well sure but superior to many things listened to in recent months (8/10). We continue with "Start of a Nightmare" more nervous from its beginning before the appearance of ...... the flute of Mrs. BOOMSMA supported by the keyboards of Mr. SPANNINGA (organ rarely used by Edo, some layers of mellotron and a mini moog en fusion), the vocals are more prominent here than on the first two titles while blending perfectly into the overall theme, Hans once again showing himself to his advantage in acoustics as in electrics (9/10) and Edo offering us a hair-raising moog solo in the final part.

Casually here we are halfway through the disc, time has passed at breakneck speed..... "Fear of Failure" which can be translated as the fear of losing, begins like a symphony, flooded by multifaceted keyboards by Edo SPANNINGA with the high-pitched vocals of Margriet, a six-string worthy of a Steve HACKETT at its best, the flute only arrives here at the fifth minute (I thought it had it lost....), in short, a superb piece, high-end neo-progressive according to the consecrated but very real expression in this case (10/10), the organ solo in the final part is a model of the genre . The penultimate title already, "Walls of Words" plus song also especially in its first third, will be the least exciting track of the work, while remaining frequentable (7/10) many keyboards a little jazz at times, a little West Coast to others (POCO?), too patchwork for my taste before the arrival of the flute (at 5:04) which counterbalances this relative disappointment, the worst track on the album which would be the best on others...

Let's end this trip with the eponymous piece "Jumping the Milestone" composition by Hans SPITZEN over twelve minutes long, introduced and continued on the piano by himself between two flights of very kayaking guitar, let's stay among the tulips, the mills and the polders (at 5:50 the six-string there is really great), surprise it's the only track with few ......flute (she must have lost it on the way because she only arrives at 9:26 ), a fine example of symphonic progressive neo at its best (9/10) which ends too abruptly in my opinion (three or four more minutes would not have mismatched the picture!).

An excellent opus that will figure very prominently in my annual review.

The first studio album from Flamborough Head in many years and a very welcome addition it is as well. It seems to me there has been no distance in time between albums. We have most of the continuing members returning along with their new member on guitar, Hans Spitzen with Eddie Mulder changing position to bass player.

Every song on this album is quite long giving room to breathe for every band member to showcase their talents. Margriet Boomsma's singing is still strong and vibrant as always along with her flute played with passion and sincerity. Edo Spanninga's keyboard playing drives these songs, even when not in the forefront, he plays in the background that swells quietly allowing the other instruments the spotlight.

The album opens strongly with 'The Garden Shed', reminding me how much I've missed new compositions from this band.' Tomorrow is Another Day' is a real highlight. Quiet moments really compliment this song especially with the fluent flute and crisp classical guitar. Of course this is interspersed with rousing elation and full involvement from all members playing to their fullest ability giving us great hard driving prog at it's best.

The title of 'Start of a Nightmare' would indicate a song of gloom and despair however in terms of music it is quite up tempo. The whole album is a high quality production. Every instrument and sound is crystal clear. The album ends with the title track also being the longest at 12 minutes. This includes beautiful piano soon to be weaving amongst all other instruments that build to an emotional climax befitting the entire album.

I'm hoping we don't have to wait so long for the next instalment. It is clear this band still works well together and produces the highest quality one can hope for.

While neo-prog bands from the Netherlands have been catching up to the English scene that started all the way back in the early 1980s, most of the bands emerged after the dawn of the 21st century but a scant few set up shop in the 1990s. As far as i can tell only Odyssice, Like Wendy and this band FLAMBOROUGH HEAD started that far back with this Dutch band from Leeuwarden forming as far back as 1993 however it would only be 1998 that the band would see its debut "Unspoken Whisper" joining the ranks of its British counterparts.

FLAMOROUGH HEAD had been pretty consistent in releasing seven albums from 1998 - 2013 even having released two in 2001 but then with the release of its previous album "Lost In Time" went silent for almost a decade. The band returns nine years later with JUMPING THE MILESTONE which finds the trio of Margriet Boomsma (vocals, flute), Koen Roozen (drums) and Edo Spanninga (keyboards) returning however guitarist Gert Polkerman has been released with Hans Spitzen and bassist Marcel Derix likewise has been replaced by Eddie Mulder.

Despite a near decade lull in activity the band picks up right where they left off with its classic neo-prog sound. JUMPING THE MILESTONE features six tracks all of a length exceeding seven minutes with two, the opening "The Garden Shed" and the closing title track both exceeding ten. Anyone familiar with this band will know what to expect. The classic neo-prog soaring guitar riffing techniques fairly ubiquitous in that nook of the prog universe along with some ambitious key workouts more reminiscent of Emerson, Lake and Palmer at times more than Arena or IQ. The band exists in a dreamy folky realm of the neo-prog world but isn't afraid to rock out either. "Start Of A Nightmare" showcases some upbeat rock guitar heft with some sizzling soloing as well.

Keyboardist Edo Spanninga is at the top of his game with a virtuoso's ear of layering synthesized atmospheres to the guitar, bass and drum rhythmic foundation along with some moments of bravado that allows some of those classic prog synthesizer melting antics. For the most part this is more on the folk side of the equation with a mellow nonchalant reserved display of down-home family friendly G-rated entertainment. Nothing ever gets too wild, no risks are taken and everything is pretty much neo-prog by the books that ticks off every aspect of the genre and carries it out nicely. The addition of the flute is what puts this squarely in the neo-folk-prog subcategory.

As much as i try this is a band i find underwhelming. Margriet Boomsma lacks the required vocal dynamics and charisma to be an engaging lead vocalist and sounds better suited for an American country rock band honestly. The weakest feature of FLAMOROUGH HEAD is the lackluster performances of drummer Koen Roozen who serves as a metrometer and never offers any style of percussion that differs from the mere basics. I was hoping that after nearly a decade FLAMBOROUGH HEAD would up its game but it seems that this band is content existing in its own world that is oblivious to the modern standards that make a great neo-prog album. By no means a bad album. If you enjoy more intimate sounding music then you will like this more than i do but as far as my enjoyment value is concerned i find this album average at best.

Flamborough Head was founded in 1990, the name is derived from a part of the rocky British coast and comes from prime mover Edo Spanninga, an Anglophile, he wanted a double name like Led Zeppelin and Uriah Heep. The band gained a lot praise since their wonderful debut album Unspoken Whisper from 1998, and their performances on the legendary Progfarm festivals. In 2018 Edo told me that Flamborough Head actually never stopped. Due to family priorities, side-projects (solo, Trion, Leap Day), personal changes and 'getting older' the activity was very low. But in recent years Flamborugh Head played in Poland and England, and will perform on the German 3-day Art-Rock festival in early April (along many bands, from The Alex Carpani Band with David Jackson and Spanish prog sensation Flying Cricus to the veterans of Comedy Of Errors and Chandelier). Then Flamborough Head decided to work on a new CD, in the end it took 4 years to complete this latest effort, in 2022 (the first since the on PA highly rated Lost In Time from 2013), of course the corona misery played a huge role in the delay. The recent line-up still includes Margriet Boosma, Edo Spanninga and Koen Roozen, former Flamborough Head guitarplayer Eddie Mulder now plays bass and the new guitarplayer is Hans Spitzen.

Well, during my first listening session I got more and more excited about this latest Flamborough Head album, for sure it has been worth the long wait! The band delivers six tastefully arranged and elaborate compositions, embellished with wonderful work on guitar, keyboards and flute, fuelled by a dynamic rhythm-section, and topped with the beautiful and distinctive female vocals by Margriet Boomsma.

The two longest compositions are wonderfully drenched in the 70s symphonic rock tradition, and new guitarplayer Hans Spitzen shines, he is a real asset to the band.

The Garden Shed (10:30) alternates between dreamy (with soaring flute, acoustic guitar and warm female vocals) and bombastic eruptions, with synthesizer flights, Mellotrons and powerful guitar riffs. The one moment delicate interplay between a folky flute and acoustic guitar, the other moment a moving guitar solo in a compelling atmosphere. Jumping The Milestone (12:18) starts with dreamy piano, flute and vocals, gradually the sound turns into more lush with sensitive electric guitar and intense vocals. Then back to dreamy featuring a moving guitar solo that culminates in howling runs and a bombastic eruption with Mellotron. In the second part lots of changing atmospheres with exciting work on keyboards and guitar. Finally first a dreamy climate with flute, tender piano, then an excellent build-up to a compelling grand finale with a moving guitar solo and a majestic Mellotron sound, goose bumps!

The other four tracks also sound tastefully arranged.

Tomorrow Is Another Day (7:42) sounds as a very melodic and harmonic blend of rock and folk, with a lush instrumentation (from flute to synthesizers and organ). Halfway beautiful interplay between flute and electric guitar, followed by a long and moving guitar solo.

Start Of A Nightmare (8:15) features a lot of variety, dynamics and strong musical ideas. From bombastic symphonic rock with Hammond and synthesizer flights to Neo-Prog with moving guitar and folk with soaring flute and tender acoustic guitar. The one moment a distorted bass solo, the other moment an ominous final part with biting wah-wah guitar solo, turning into a sumptuous atmosphere with synthesizer flights, what an awesome build-up and climax!

Fear Of Failure (8:57) to me sounds like early Kayak, very melodic with a sensitive electric guitar solo and lots of Vintage Keyboard Extravaganza, from Hammond and Minimoog to Mellotron (especially the choir section), wow, I love it!

Walls Of Words (8:00) is the most mellow track, layered with intense vocals, tender piano, subtle volume pedal driven electric guitar, melancholical flute play, a moving guitar solo, and finally Hammond runs and a fading Mellotron.

What a wonderful and inspired new album by Dutch masters Flamborough Head, I am sure the many fans of the band on Prog Archives will be delighted.