THE NATURE OF SOLITUDE II

Many-Layered Splendor

Shropshire, England-based composer/multi-instrumentalist RYAN YARD has produced an album of gentle, layered, melodic loveliness.

On this album he plays all instruments except for guitar contributions from Carl W. Major, about whom I can find little information.

Residing in a reflective, symphonic corner of the progressive rock universe, a fair listening to this quiet gem requires a shift in one's receptors- if you're used to the 'sturm und drang' of progressive metal or the bombast of some symphonic progressive rock, well...not here.

Rather, Shifting Musical Landscapes

"The Nature of Solitude II" is presented in two lengthy, conjoined, yet distinct sections, cleverly entitled "Part One" and "Part Two". Each is characterized by the judicious use of keyboards including piano, electric piano, organ, and various synthesizer sounds and choral patches.

In addition we also hear picked and strummed acoustic and electric guitars, fairly crunchy and resonant bass guitar (I THINK an actual bass guitar), percussion ranging from bongo or conga drums, chimes, drum-set, and Zen bowl gong sounds, which put me in mind of meditation.

At times, I thought I heard flute and/or recorder being played, and sometimes this was harmonized with synthesizer sounds.

Subtle Shifts

Part One opens with gentle sustained keyboard chords and the sound of bells, with melodic recorder. Over the course of the next twenty-something minutes, subtle shifts occur, as sounds are added or changed, melodies introduced, and tempos build.

I especially liked some of the stately progressions using organ, bass, and drums, with guitars providing melody, and gentle symphonic strings rounding out the sound. Female upper-register vocalizing added a haunting, mystic quality to the track.

Toward the end of this first track, pipe organ led the way to another triumphal progression that then gently subsides, with recorder melody, and gong, fading...

Part Two

The second track picks up with a deeper sustained cello sound over which we again hear the Zen bowl gong- a repeated motif in this part. Several times on this track I thought an actual choral ensemble was performing, and this was also a highlight I enjoyed, one section in particular where there is almost a restrained version of the kind of exuberant vocalizings Gentle Giant utilized.

Acoustic guitar and organ interplay, then symphonic sounds in a full-band passage builds, with resonant bass guitar accents. There are even hushed electric guitar power chords for effect, then this shifts. We hear electric guitar and synthesizer duets, and another stately progression with majestic chorale sounds.

This track ends with mighty organ resolving a chord...and the male voice singing "aum", and repeating, and fading.

In Sum

I found this a refreshing, restoring, renewing experience- perhaps the antidote to COVID concerns that I needed today, a relaxing meditation indeed.

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