THE GUILDMASTER

The album begins with two Pacha instrumentals. Perhaps Rafael Pacha can be seen as the project's artistic heart with his wide selection of instruments both old and new (if the Finnish drummer Kimmo Pörsti is the primary producer together with bassist Marco Bernard). 'A lo hecho, pecho' starts with Old Music nuances and grows -- within its surprisingly limited space -- into contemporary prog with the soaring, Hackett-like electric guitar work. The other piece sounds at first even more rooted in Old Music (featuring e.g. viola da gamba and virginal) but that gives way to keyboard-emphasized progressive rock.

The Italian Marco Grieco (a.k.a. Macromarco in the ProgArchives) wrote and plays all keyboards on 'Agora', inspired by the Greek culture. Evangelia Kozoni singing in English has a nice, clean voice. The third Pacha instrumental 'Manos frías, corazón caliente' features recorder and accordion [midi]. Especially I like the serene, acoustic section amidst more rhythmic prog rock. My favourite piece is definitely 'Suruista tehty soitto' in which Kimmo Pörsti's composition emulates melancholic Finnish folk music. Pacha's zyther sounds very much like kantele, the national instrument of Finland. The Finnish lyrics are beautifully sung by Paula Pörsti.

Recorders are pretty central in keyboardist Jose Manuel Medina's instrumental piece 'Agua pasada no mueve molino', at least before the modern prog complexity takes over and Pacha switches to electric guitar. The seventh track, inspired by the myth of Orpheus where "music calms the beast", is composed by Pacha and sung in English by Alessandro di Benedetti. The other song from the pen of Marco Grieco, 'Nea Polis', is "located" in Naples. The slightly rough and shouty vocals -- in Neapolitan Italian -- underline the strong RPI flavour, often present on The Samurai Of Prog albums. Some Spanish vibrancy is felt on the 10th track sung (in Spanish) by Carlos Espejo.

The spring-inspired Pacha instrumental (9.) sort of represents in a nutshell the two-faced essence of The Guildmaster: the delightful Medieval/Renaissance atmosphere created by Old Music instruments becomes more or less secondary to the modern prog production. This can be seen as the project's Achilles heel: the whole album tends to mix Old and New constantly, sadly not letting the organic folk side truly dominate a single piece. In this sense the album is perhaps slightly overproduced. That said, the final major track 'Young Me, Old You' (by Alessandro di Benedetti) is an excellent prog song full of introspective serenity, graced by the emotional vocals of Daniel Fäldt. The peaceful closing track is an acoustic guitar reprise of the Pörsti composition. In the end I prefer this album over the debut.

This is a magnificent album, the composing and performances are top rate (including the rare vocals, but then I'm a sucker for a good female voice). The album gets a little heavier and rockier towards the end but pride of place still belongs to the medieval instruments, especially the baroque flutes and recorders.

Most of the tracks blend nicely from one to the other giving you a complete journey through a medieval banquet (with an electric guitarist and modern-day drum set hidden away on the musician's gallery); as a result it's hard to single out specific tracks, but there are brilliant sections in all of them. I just wish that as we leave this past year of sorrow the final track (which is moody and sad) was a little more uplifting.

This is a must for anyone who is a fan of folk prog.

Well, it was certainly worth the wait, especially for fans of medieval-folk prog, a sub-genre where a heady mixture of instrumentation, stylistics and atmosphere merge together to delight and enthrall those who seek sonic adventure. The presence of Ton Scherpenzeel (of Camel and Kayak fame), whose 2013 solo album "the Lion's Dream "was an ear-opening foray into the Middle ages that I found very tasty. Together with gifted multi-instrumentalist Rafael Pacha from Spain and the ultra-prolific Kimmo Porsti , as well as guest (and my friend) Alessandro di Bennedetti (of Mad Crayon and Inner Prospekt) on piano and composition, this package is one of the finest progressive albums of 2020 , as it has everything going for it to be a huge moment in this kind of music style. From the beautiful artwork from the incredible Ed Unitsky, the magical compositions, and the overall mood of the sounds, to the crisp production, this is quite a whopper. While definitely inspired by the Middle Ages, the instrumentation relies on modern accoutrements, where electric guitars mingle with delicate synthesizers, deft drumming that provides meat (and the odd potato) as well as the traditional flutes and violins. In many ways, this work draws itself close to Minimum Vital's style, very Renaissance/ Baroque and muscled along by strong rhythmic assault. The themes wander around medieval Europe, from Spain, to Scotland, then to Finland and back down to Italy. Polyrhythmics abound with even a 6/5 tempo (the track "Six and Five"), clever movements including a dash of polka with occasional female vocals that really hit the spot.

All the tracks flow from one to another, much like a 15th century banquet, where the jongleurs, the raconteurs and the troubadours share the stage with the musicians, torch-lit delightful entertainment, goblets full and a hardy time had by all. Fans of Gryphon, Gentle Giant, Blackmore's Night. Afforested, Amazing Blondel, Asgard , Avaric, Malicorne, Tri Yann, Dan Ar Braz, Bededeum, Gian Castello, The Morrigan, Colin Masson and Mike Oldfield, etc ... will find this much to their liking. I am particularly fond of this music because it can also serve as urgent background music that can set quite the mood, instead of all the other lackluster possibilities out there (ambient can actually be a distraction at times!)

For technical fans, here is a list of other instruments played: baroque flutes and recorders, Venezuelan cuatro, psaltery, bouzouki, mandolin, viol de gamba, darbouka, bodhran, tin whistles, tenor banjo metallophone & penaparda drums, with maybe an odd Robin Hood kitchen sink!

Thank you Matti and Kennethlevine

4.5 Spectral Jousters

The Guildmaster is mainly a unit of Pörsti, Bernard, Spanish guitarist/multi-instrumentalist and composer Rafael Pacha plus keyboardist Ton Scherpenzeel (KAYAK). In addition to them, The Knight and the Ghost features many co- musicians from various countries, like in The Samurai Of Prog tradition. Whereas TSOP is oriented to symphonic prog, The Guildmaster explores the folk elements. The instrumentally oriented, approx. 62-minute album contains thirteen tracks.

'Puppet Dance' (written by Scherpenzeel) is strongly flavoured by the Renaissance [the era, not the band] featuring Pacha's recorder and Baroque flutes. 'Saaristo' (= archipelago in Finnish) is a serene and romantically melodic composition by Kristiina Poutanen. It was originally included in Kimmo Pörsti's first own album (Maahinen: Ihmeellinen iltapäivä, 1997), and since it resonates with Finnish folk music, it was reworked for this album. Violin and flute sound lovely! 'The Hare' composed by Rafael Pacha has connotations to a horn-pipe.

The album's title song by Alessandro Di Benedetti is the longest one (9:14) and features the beautiful vocals of Camilla Rinaldi. If you're fond of mostly peaceful folky prog with female vocals, you'll love it. Pacha's next piece is based on the old musical form of La Folia, and it gives a good example of the album's way of combining old instruments with modern rock environment. It would have been nice if the rock/modern side would have been left completely out of the equation somewhere along the album, but still the folk approach is very much in the fore. On Scherpenzeel's brief 'Six and Fives' Pacha plays both acoustic and electric guitars-- as on the album in general --, plus recorder and darbuka (a.k.a. chalice drum). Fiddle is again well present on Pacha's composition 'The Search', in which he himself plays proggy keyboards in addition to several other instruments.

The second vocal song 'Camino de Luz (Path of Light)' was composed by Kimmo Pörsti and sung in Spanish by Ariane Valdivié. A beautiful, soothing piece not without some rock dynamics too. 'Noughts and Crosses (Scherpenzeel) reminds of the opening tune in its Renaissance flavour. Pacha's 'The Fairy Pole' indeed is resembling a Finnish polka, a joyous dance form. 'Ghost Dance' originates as a Pörsti composition from Mist Season's first album (2004), but the latter part was newly composed by Pacha. On 'The Sun Rises Again' the composer Pacha plays also a pentatonic kantele. The closing piece by Scherpenzeel is a serene and moody little piece in which Pacha plays viola da gamba and recorder.

This is a truly pleasant album mixing old music instruments & flavours and various forms of folk music with contemporary [rock] environment, and the production is good -- maybe a bit too polished? In the end the whole feels slightly too determined and safe (ie. continuing rather unsurprisingly in the chosen style), which perhaps would have been avoided by either letting go of the rock side here and there or by increasing the progressive rock approach. 3½ stars rounded up.