PETRICHOR

I first came across Band Of Rain back in 2006 when I reviewed the first two albums. At that time, it was mostly Chris Gill, and over the years there have been quite a few changes in line-up, but it has always been Chris's steadying hand at the rudder. This is their seventh album, and although I have reviewed five of the albums I somehow missed 2019's 'Svengali', at which point the band was a duo of Chris and Micha Steinbacher, who had also been on the previous album 'The Dust of Stars'. Just a year later that has changed with Band of Rain becoming a full band and not only is it now a proper band which can get out and gig, or at least that was the plan before a certain pandemic got in the way, but there are a few well-known names who are now involved. The first of these is none other than Jon Camp (Renaissance) on bass, while the keyboard player is Robert Webb (England). Chris only provides guitars on the album, a major reduction in his normal contribution, and the line-up is completed by Matthew Corry (vocals) and Rick Hambleton (drums). To my mind the band has already had two significant periods in their existence, the first being when they released their first four albums between 2004 and 2011, and the second being the next two albums which were Gill, Steinbacher and Ria Parfitt (who provided vocals on 'The Dust of Stars'), and here they are taking it to quite a different level.

Musically there have also been quite a few changes, as this is now a band with a permanent singer and there are far fewer instrumentals whereas it used to be often the other way round, and they are now far removed from the space rock which could be found throughout their earlier works. It is a band album, no longer a solo work, with Gill sharing credits on every song, which now often revolved around the intricate (and often fretless) bass playing of Camp. It is far more psychedelic, and Chris has easily relaxed into the new role he has created within the band, sitting back to let Jon take the centre stage when the need is right, or providing some deft solos. The music often creates soundscapes, fitting in well with the images on the front and rear of the CD, and the whispering at the end of the instrumental 'Merlin' (provided by Parfitt) is particularly effective.

As an album one is never quite sure where one is going to be taken on the journey as there are quite a few different styles at play, and there are times when it joins together seamlessly but others when there appears to be something of a disconnect in that while everyone is playing the same song it doesn't really gel as it should. The band are already working on the next album, provisionally titled 'Dawn Chorus', with the aim to be playing both in concert next year. Realistically this is a brand new band operating under an old name, and once they have been playing together more and developing their sound it is going to be intriguing to hear what they sound like, as the last time I heard a bass this far to the front was with Mr So & So, yet musically these is a very different outfit altogether.

So much talent here! Long-time band leader Chris Gill, a talent in his own right, enlists the creative input of legends Jon Camp (RENAISSANCE) and Robert Webb (ENGLAND) and one of my favorite up-and-coming vocalists, Matthew Corry (EMPEROR NORTON).

1. "Daughter of the Moor" (7:49) Matthew really stretching it out--showing his immensely talented and broad vocal range--but it's rendered so poorly into the mix. And the song is so one dimensional. Too bad. (12/15)

2. "The Craft" (6:34) opens with a band and never goes anywhere from there. As Matthew sings it's as if he's in another universe with absolutely no connection to the music--at least until the music goes soft in the second half. (8/10)

3. "Larkspur" (7:53) finally, something is moving, something is interesting--and Matthew's operatic vocals and lyrics are working within and with this musical tapestry. Great CHRIS SQUIRE-like bass line and love the work of Robert Webb's keys (especially the little clavinet riffs). (13.5/15)

4. "Merlin" (7:18) 2-chord instrumental over which Jon Camp's fretless ambles about. Later, Chris Gill's guitars tear it up pretty good. (12.75/15)

5. "Tupelo" (5:43) an instrumental attempt at uptempo power/heavy prog. Nice sounds and bass and guitar play but otherwise the song has no meat. (8.25/10)

6. "Witchfinder" (7:33) opens with choir and bird noises before band kicks in with slow three-chord blues-rock dirge. Then at 5:10 it's as if a whole other song has been faded into this one to take over. Chris does an admirable job with his axe trying to salvage this one, but . . . (12.5/15)

7. "Petrichor" (12:11) potential and melding but no direction or ambition. (20/25)

Total Time 55:01

So much aimless meandering! The chemistry of these mega-talented individuals just never seemed to gel. For some reason the band is content on every single song to establish a groove and then stick with that one monotonous for the length of some exceedingly long songs while letting vocalist Matthew Corry create some magic yet recording his voice terribly into the mix.

For the second time I discovered the name of "Petrichor" for an album title, it was already present on the album released at the end of 2018 by the French group KEOR that I strongly recommend, and BAND OF RAIN which comes from take out his seventh throw. This word designates a particular odor, usually pleasant, which the earth takes on after rain. This definition indicates the direction and the turn that this work will take, it will let glimpse the romantic and traditional roots adopted by BAND OF RAIN, like an ideological message announced before the discovery of the content, the informed listener will perceive all these aspects over the listening . This album takes again the English folk bases already heard in the preceding opus, but improved by a more elaborate work and fructified by the additional arrival of seasoned musicians. These British artists offer us Psychedelic / Space Rock music with claimed influences from groups such as PINK FLOYD, KING CRIMSON, RENAISSANCE and YES with a special mention for the expert synthesizer and composer LARRY FAST "Synergy". Note that an eighth album written during confinement is already being recorded. "Petrichor" is a conceptual disc whose main themes are witchcraft, superstition and weather. Here is a summary of my impressions: "Daughter of the Moor" begins slowly like a good track by MARILLION with a voice resembling that of the legendary FISH, the song turns and metamorphoses into tremolos pushed to the extreme like Tom YORK , a "Zeppelin" guitar solo accompanies this vocal feat. We delay with synthetic and pianistic passages to start again with another throat ... three singers for the price of one? This time it twists like a Jeff BUCKLEY in great shape if I may say so ..., it looks like a cover of this much-regretted genius (rip), with almost the same orchestral effects with a very rocky temperament tuned to the same guitar which never ceases to send us endless solis as a kind of well-balanced background sound. "The Craft" develops an instrumental resonance that reminds me of YES "Tormato" period, but with a vocals all their own. A voice alone or with others interpret a few plaintive couplets melting in a form of softness sussurated with subtlety as if to speak in the ear of a loved one ... Sensations sometimes folkloric, sometimes medieval with some atmospheric moments, but constantly dressed in the same bewitching rhythm ... it's beautiful and sad at the same time, but above all successful! "Larkspur" sends us tortured sentences like a castra with intense emotions. The word is strong, but the vocal prowess is there ... hats off! A slow and sporadic tempo appears repetitive to better accompany this voice which never stops dying, with this impression of listening to a story with a glorious past and "Tolkiesques". Guitar riffs with heavy harmonies will complete this beautiful heritage. This "Merlin" does not speak, he takes us on an instrumental journey in a magical and chimerical world rocked by a tempo that sounds like a death knell. He slowly retraces his epic to us through a light and airy bass that wanders through ancestral times, enhanced by endless and distorted riffs and guitar solos. Close your eyes and let yourself be carried away by this captivating and spooky piece. With "Tupelo" we come back to earth, we retouch a very rock ground with all its variants, finished the lyricism of yesteryear. Here blues is mixed with rock, rock with country, but always scaffolded by a touch of mystery and electric sounds revolving in loops in the background, providing this track with a striking rendering to better establish a refined cinematic relief. After two very interesting and heterogeneous instrumental pieces I find with delight our singer prodigy on one of the best tracks of the album: "Witchfinder". MATTHEW CORRY delivers us in addition melancholic and exhilarating songs comparable to those of the leader of RADIOHEAD accompanied by an orchestration of the same name, intonations of the talented JIM GRAY of the group CALIGULA'S HORSE are interspersed admirably in certain epic passages where the chills become overwhelming ! A pivotal passage at 2:40 will make us levitate above the sofa and teleport us into an imaginary world full of sweetness, escorted by a melodic guitar installed in a perpetual solo, before ending this masterpiece with a little lullaby full of delicacy and emotion. The eponymous "Petrichor" the longest title of this opus was obviously conceived around the voice of MATTHEW CORRY. I am not going to complain about it, because here MATTHEW CORRY gives us the cover with a anthology of his vocal possibilities revealing to us the full extent of his talent.The instruments are in perfect harmony with this overwhelming voice, whose controlled emotions rise crescendo until the essential oil is drawn from this humus with vital scents. What to say about this album ...? Quite simply that it is beautiful, that the melodies are immensely deep and melancholic, that the orchestration offers us a complete and bewitching tapestry of the most beautiful effect, and that I have just adopted a new sublime voice in my musical repertoire. This group which is in its seventh album deserves to be better known, and should be referenced among the greats of progressive music! The recurring problem with masterpieces is that they are inaccessible to ordinary people, I myself did not fall in love with the first keys, but I have the immense advantage of writing chronicles that force me to be rigorous and to listen a certain number of times before judging. Now I am wise, and I strongly advise you to harness yourself to this little wonder, and not to let go before having felt all the contents!

Band of Rain first grabbed my attention with their album, "Dust of Stars". I really loved how they created atmospheres that would evolve with these almost dark and sometimes eerie moods. Yet there were moments of beauty and as well borderline insanity. It seems that album was a new sound for the band as older albums had a somewhat different style, though still good music.

Last year, Messieurs Chris Gill and Micha Steinbacher released an album independently of the Band of Rain catalogue under the Gill Steinbacher Project moniker entitled "Sven Gali". The atmospheric charm of the "Dust of Stars" album was still present. So with these albums to enjoy, I looked forward to the announcements of a forthcoming album in 2020, "Petrichor".

If I understand correctly, "Petrichor" sees a new band assembled for Band of Rain. I am under the impression that older recordings were largely to the credit of Chris Gill and that Micha Steinbacher joined sometime before "Dust of Stars". Older Band of Rain albums also featured a female vocalist. For this release, the band consists of Chris Gill - guitars, Jon Camp (Renaissance) - bass, Robert Web (England) - keyboards, Rick Hambleton - drums, and Matthew Cory (Emperor Norton) - vocals. Two members here really stand out on the album: Jon Camp for his ubiquitous, deep, chunky bass, and Matthew Corry for his unusual high, almost opera- meets-Renaissance-period vocal style.

The music on the album stays true to the recent band of Rain sound with compositions that move slow and steady, the drums typically keeping a steady beat while the bass roves and churns out its expressive groove. The keyboards and guitar create the atmosphere that is sometimes ominous and forbidding, other times ethereal and atmospheric but often moody and brooding. Matthew Corry's voice soars over the music. It's not a voice you'd immediately take to, I think, and honestly at first I was a little disappointed not to hear the female vocals of the previous albums or more instrumental tracks like on "Dust of Stars". But after a few listens, I began too hear how unique Corry's voice is and felt it did suit the music most of the time. I say most of the time because there are a couple of places where I question what the lyrics are supposed to be about ("Save lives, save money"?) or where the vocals are lost in the mix somewhat. But though I think it was a bold move to use Corry's vocals, the result is unique and appreciable after a bit.

One track that stands out for me is "Tupelo" which features more heavier guitar riffs and more power behind the music but later morphs into an almost southern rock style with a Band of Rain approach. It's also an instrumental track.

This album didn't immediately grab me as "Dust of Stars" or "Sven Gali" did. I read in a couple of other reviews the observation that as this is a new band and a new version of Band of Rain, there is as yet gelling and cohesion between the members. In a way, this was a kind of test album. "Let's see what we've got between us!" But with subsequent listens I have come to enjoy the album more. That building of moods and shifting of atmospheres still signifies this as a Band of Rain album. If this is a case of a band learning to create music together and heading towards greater things, then I am eager to hear where they go next.

"Petrichor" is certainly something different from the majority of modern prog band approaches and worthy of checking out if you like music that is not busy but instead takes you on a journey over landscapes of ancient, fallen civilizations and misty autumn forests, rivers, and rocky escarpments. This is mood music with an eerie edge and at times there is a tension lurking beneath the smooth flowing surface. Not quite an "excellent addition to any prog rock music collection" but better than just "good but non-essential".