ECHOES OF ALBION

Owning all his solo albums as well as the ones with The Morrigan, I can safely state without any fear of reprisal or judgement, that Colin Masson is a perennial favourite of the Rogue library since day one, eons ago. Needless then to point out that when seeing this new effort on the radar, realizing that there are only 3 tracks and an hour's worth of music, I immediately proceeded to gulp, gasp and glow in abject ecstasy, and push that darn purchase button. Objectivity is always hard when you are a big fan and not a blasé curmudgeon who feels better when spewing venom from afar (AKA a music critic). I know what I like, even in my wardrobe. So, make room for 2024's "Echoes of Albion", another palpitating adventure that conjures aromas of the saline sea, the lush green fields, the feudal fortresses, the Roman ruins and proper fish and chips! For those readers who are oblivious to this artist, its never too late to get acquainted with some astonishing music with compelling Celtic inclinations, masterfully delivered by a blistering guitar that can evoke Mike Oldfield in tone and all together, offering a sonic cinema of your own making, playing in your head. Along with the equally famed guitarists Dave Bainbridge and Dave Brons, Colin keeps the Gaelic epic style and atmosphere very much alive, relying on the eternally mystical resonance of British, Irish, Welsh, and Scottish folk music to flourish well into the 21st century. So, unless you are a fan of the 2-minute punk tune (goodbye, then), the fans of wandering, wide-screen epic progressive rock will jubilate way beyond any words I could ever come up with. Colin takes over all the instrumental duties and vocal responsibilities here, a one-man show for the ages.

The title track is a 22 minute + leviathan that unexpectedly appears through an opaque vocal fog, tribal drums gently pounding in the distance, a choir-like hypnotic swirl that serves to inebriate the mood, with a plethora of sensations, from dread to curiosity and an ever-growing sense of elevation to a higher plane. When the shrieking electric guitar slices through the mist, and then the diabolical bass skirting the choppy waves like a sea serpent gone berserk, you fall prey to the undeniable charm, the bombast adding to any trepidation, but reassured at the very last moment by sorrowful orchestral symphonics to soothe the bruised soul. Transitioning back to flickers of tingling guitar phrasings (the man's finger technique is breathtaking) that build up a new distant storm, perhaps the onset of grey clouds and rain to start, maybe the spirits of Thor and Odin providing some temporary thunder and lightning. But the vapor recedes, and the sun comes back again for another attempt at lucidity. Back and forth it goes, from light to opacity, and its fascinating! The acoustic guitar segment is celestial in its utter precision and the tonal beauty is triumphantly heartfelt. The crystalline electric guitar chaperone is equally enjoyable. Then the pitch becomes more circularly compressed (à la Oldfield) and the Celtic vortex kicks in, with stimulating effect, taking this magnificent musical dolmen all the way to Stonehenge for a gentle landing.

The nearly 16 minutes of "On Martin Down" proposes a wholly alternate modulation, at first tremendously restrained and meditative, slowly blooming into a series of guitar elevations that progressively heighten the electricity while still remaining respectful and serene. The acoustic work is again off the charts, limpidly flowing from the fingers to the strings, a delicate flute fluttering for awhile like a curious butterfly eyeing some blooming flower. Bucolic and pastoral, one can close their eyes and imagine to their hearts content. Colin ushers in the influential lead guitar to great effect, a celebration of the joy and the resulting pleasure at all the surrounding beauty. Titanic orchestrations and subtle electronics combine to attach a Vangelis-like euphoria to the arrangement, finished off by the most relaxing finale possible.

The colossal "Caledonia" is the clincher without any doubt, a reference to the Roman name for Scotland (The Roman Empire built this wall, you see?to keep the Scots on the other side, LOL) and as such, it might just be the perfect musical travelogue to define both the highlands and the lowlands, as the scope and the intent is clearly cinematographic imagery of the finest pedigree. Shimmering electronic keyboard and glittering organ swells dominate the aural landscape, constructing the solid structure to eventual permit the slippery guitar to glide, like a soaring eagle searching for its prey. Once again, we are treated to another exemplary acoustic guitar showcase, a most welcome interloper by now as it calms the tension and suggests harmonious inspiration for the next journey on the road to discovery. The slick organ and fuzzy guitar decide to duel it out, a contest between two hardy tartans, in order to figure who gets the next round! A playful jig is up next for the two antagonists, swirling, twirling, and dancing the day away. The carving bass enters the stage to take the composition in a new direction, eventually leading to more glittering electronics, capped by a rousing axe outbreak, flush with urgency, despair, agony, and resolution. One of the finest solos one could ever hope for, impeccable in technique and impossibly emotional. A majestic display. The synthesized carpet of gentleness only sets the stage for the final hurrah, a wickedly tortured rant that slays the proverbial dragon, Colin surely impersonating St George as he looks up to the tower where the now rescued princess awaits. Echoes of Albion, indeed.

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