TALES FROM SHEEPFATHER'S GROVE

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In December I heard from Moth Vellum founder and guitarist Johannes Luley who asked if I would be interested in hearing his new solo album. A short while later and I was staring at the incredible artwork from Harout Demirchyan and I felt that I had been transported back to the Seventies ' but would the music pass the test? Well, I had nothing to worry about on that score. Johannes provides all of the instruments himself (apart from a concert harp played by Stephanie Bennett) and uses three singers, Robin Hathaway, Kristina Sattler and Sianna Lyons, and the result is nothing short of stunning.

It is as if Jon Anderson has again joined with Vangelis, but without the wall of keyboards, and instead it feels much more 'real' and containing lots of space and depth. In many ways it is extremely complex, yet comes across in a simple manner. It is not music that can be played in the background as it may just disappear, but greatly rewards those who have the time to spare just to listen to the music as an end in itself. Electric guitar is used for emphasis as opposed to always being a central pillar, with plenty of room for mandolin and acoustic instruments. Instead of programmed drums or even a normal drumkit, Johannes has instead opted for handheld percussion which gives a very different feel to the norm and this builds to a climax in 'Give and Take'.

This is one of the most beautiful prog albums I have ever had the pleasure to listen to, and I am sure that when 2013 comes to a close that this will be on many people's Top 10's. I know it will be on mine.

On Tales From Sheepfather's Grove, Johannes Luley offers up a range of melodic light-prog numbers spiced up a little here and there by moments reminiscent of the folkier turns of Mike Oldfield. It's a slickly produced and enjoyable album, though at points it meanders and loses my attention, so the compositions could probably do with tightening up a bit. Still, if you are fond of Luley's work in Moth Vellum then you could do a lot worse than giving this a try, and the mildly New Agey vibe that worms its way into some of the more minimalistic moments on the album is admittedly interesting.