KARNATAKA

KARNATAKA presents us with a new vocalist SERTARI of Cypriot origin (I had a little trouble at first) who had little to do with progressive music before joining the Welsh group, her service records are as long as a day with bread...and range from BLACK EYED PEAS to electro pop via LED ZEPPELIN!

Let's move on to "Sacrifice" (7/10) which is the piece that I like the least out of all the eighty minutes of this "Requiem", it is certainly not bad but not at the level of the rest of the work, perhaps too commercial? only the imaginative and haunting piano which supports the piece until its end brings something more here. "Look to the East" (8/10) seems to be dedicated to the war in UKRAINE which drags on without hope that the hostilities will stop anytime soon or to the Middle Eastern crisis which has lasted too long, the Arabist motifs throughout the title can justify this second option, the inventive guitar of Luke MACHIN lending itself perfectly, small criticism a title too sung (even if well sung).

We thought with the opening track that it would be difficult to reach the summits again, well the almost twelve minutes of "Forgiven" prove us the opposite, electrified by the singing of SERTARI and carried by a melodic framework worthy of the most intense moments of symphonic progressive, augmented by Gregorian chant! (10/10), let's add for good measure the six strings of the scratching machine which is absolutely lyrical... Everything is possible with KARNATAKA.

The sweet and calm "The Night's Dance" (8/10) brings us back down somewhat but remains at a level that many groups are not capable of reaching, the orchestrations of Ian JONES are impeccable here. In the ballad register comes "Say Goodbye Tomorrow" (9/10), as much pop as progressive but which can be listened to with disconcerting ease, a "candy", keyboards in abundance to die for, Luke again at the top of the poster, nirvana in terms of emotion. What can I say that hasn't already been said with the following piece "Don't Forget My Name" (9/10) in the same register as the previous one, the only criticism that we can make of these two pieces, they are sung a lot (but remarkably) What Else? Nothing!

We still have the peplum, with the title song "Requiem for a Dream" and its twenty-five minutes, you will find everything that Ian JONES is capable of in terms of compositions and arrangements, the ULTIMATE piece even if the term can seem exaggerated to you (11/10). The best part of this piece is obviously the "Uillean Pipes" of guest star Troy DONOCKLEY who leaves his mark on everything he touches, you just have to appreciate the Celtic side that the pipes give to this Requiem, another facet of KARNATAKA. To this, we must also add the incredible performance of Luke, the man who delivers six-string solos faster than his shadow and you will have covered the question in music. If perfection exists, it's here, let's leave the final words to SERTARI at 7:20 p.m. she whispers "Are You Dreaming ?"

Original review is on profilprog

Karnataka is a Welsh progressive rock band formed in 1997 by Ian Jones, Jonathan Edwards and Rachel Jones. The project was augmented by Paul Davies and Gavin Griffiths. The name Karnataka was chosen from a suggestion by Ian. Karnataka is the name of an Indian province in which Ian stayed for some time in the mid of the 90's. Karnataka is strongly supported by the Classic Rock Society and released a total of 5 studio albums, till now, "Karnataka" in 1998, "The Storm" in 2000, "Delicate Flame Of Desire" in 2003, "The Gathering Light" in 2010 and "Secrets of Angels" in 2015.

It's always a pleasure to discover a band out of sheer curiosity and to find them exceeding all my expectations. Karnataka is one of those bands that I hope we'll be hearing always more about. Actually, Karnataka is one of those bands that despite has been some momentous line up changes throughout the band's history, Karnataka have always managed to keep an amazing uniformity and quality into their music. None of their albums are in reality weak works.

So, "Secrets Of Angels" is the fifth studio album of Karnataka that was released in 2015. The line up on "Secrets Of Angels" is Hayley Griffiths (lead vocals), Carloenrico Pinna (vocals, lead, rhythm and acoustic guitars), Çagri Tozluoglu (keyboards and programming), Ian Jones (vocals, bass, bass pedals, keyboards and programming) and Jimmy Pallagrosi (drums and percussion). "Secrets Of Angels" had also the participation of Troy Donockley (Uillean pipes and low whistle), Seána Davey (harp), Rachel Van Der Tang (cello), Clive Howard (viola) and Lynn Cook (violin).

"Secrets Of Angels" has eight tracks that runs for an hour and is comprised of seven average lengthy tracks and one 20 minute opus. With musical themes that harkens to its title, "Road To Cairo" picks up right where "The Gathering Light" left off stylistically, with a slight shift only to adjust to Hayley's vocal style. With a wicked time signature backed by an Arabic scale, the band begins a great musical journey. "Because Of You" opens as if it will be a gothic ballad with a lush piano intro, but soon delivers to a symphonic cacophony of bliss with huge power chords and a great vocal performance from the new vocalist Hayley Griffiths, making her first appearance. This is probably the most radio friendly track on the album. "Poison Ivy" is a song of pain and agony. Haley's voice gets really aggressive here. It's sung with conviction with the band in the background as a perfect complement. It has a typical sound with low symphonic keys and all the moves except for low riffing guitars. It has also an elaborate orchestration. "Forbidden Dreams" is a sprightly rocker with a hugely memorable chorus that it certainly will become as one of the sing along favourite for fans. It opens up with a haunting piano line and soon becomes enhanced with cymbals and light percussive elements. This is one of the most emotional tracks on the album both instrumentally and lyrically. "Borderline" is one of the darkest and heaviest tracks on the album that begins with a heavy dark and brooding intro before going to a straight away progressive hard rock composition. The solo lead vocal work is complemented by lush harmonies in the choruses. The great performances of guitar and keyboards further extend the song. "Fairytale Lies" begins with a vocal interlude that develops with rich instrumental arrangements, vast guitar excursions and lush harmonies. This is a glorious concoction with tumbling keys and a striking string arrangement, topped off by great lyrics and an astonishing vocal work. This is a master class track in mood and atmosphere. "Feels Like Home" is a pretty and touching ballad. The way that it develops is compelling. As the song goes on, more and more layers are added to the music and vocals. Beautiful vocal backing tracks overdubbed the song ending in a cascade of harmony vocals. This is possibly one of the best ballads the band has ever created. "Secrets Of Angels" with over 20 minutes long, closes the album as a return to Karnataka's folk roots with pipes, acoustic guitar, gentle singing and a Celtic feel. It returns to the band's sound on "The Storm". The sound develops into a robust arrangement drawing on the previous themes on the album. This epic is a great number that works perfectly well with the contributions of Troy Donockley of whistle, Uilleann pipe and the lovely Celtic harp. In reality, Karnataka have shown to be masters of longer pieces before.

Conclusion: "Secrets Of Angels" is a melodic and beautifully crafted symphonic album with a striking production and an excellent sound quality. It clearly demonstrates the significant development of the Karnataka's sound. "Secrets Of Angels" is a triumphant work of Karnataka. Wonderfully melodic and hugely dramatic without being in any way corny, varied in feel yet somehow effortlessly cohesive, beautifully recorded and mixed, and very sympathetically mastered. It's probably the best sounding album of the band. The material is very strong and managed to both tread new ground and sound like "classic" Karnataka at the same time, which isn't a simple thing to do. I think that "Secrets Of Angels" is a must have for all fans of the melodic and symphonic prog rock. So, I only can easily recommend "Secrets Of Angels".

Prog is my Ferrari. Jem Godfrey (Frost*)

There are many fans of this style of prog, deeply enjoying the pleasures provided by groups like Mostly Autumn, Cairo, Panic Room, Three Colours Dark, Breathing Space, Iona, The Reasoning, Magenta, Illuminae and Chasing the Monsoon (the latter two fronted by Ian Jones) and so many more?So this is a comfortable option that always delivers mainly because it requires truly exceptional melodies to provide the platform for off the charts vocal performances. I am proud of owning and cherishing all the Karnataka albums as well as the numerous offshoots emanating from that nucleus of talents. The gorgeous cover art only serves to whet the appetite and I remain confident that this will be another cornerstone album for 2023. Ian has also surrounded himself with very capable musicians, what with Gonzalo Carrera on added keys, the deliriously in demand guitarist Luke Machin (The Tangent, Maschine, Cyan, Tiger Moth Tales and Illuminae) drummer Chris Allan formerly of the Sun and Protomythos and finally the obligatory Celtic chieftain Troy Donockley on the lovely Uilleann pipes. To follow up on my first chapter's final "reflection on patience and it shows" comment, there is a phenomenon I have recently noticed as quite the revelation, many bands choosing to kick off their new 2023 album with lengthy epics, perhaps due to the emergence from the lengthy and obligatory hibernation. The 11 and a half epic "All Around the World" offers a liberating post-Covid sonic travelogue, a finally off with the mask intrepidity that certainly galvanizes the spirit and delights the ear. A swooning introduction of sound effects sets the course, as the arrangement evolves into all members entering the stage together, signalling clearly that this will be a team effort. Sartori's voice is immediately impressive, with a strong command and a great tone, putting any worry to rest as she proves to be equal of the great singers before her. Yes, its highly melodic story telling, highlighting lyrics directed at addressing the global concern of our ongoing destruction of our precious blue and green planet! Luke spews out his first of many sizzling, drizzling and fizzing lead guitar solos that litter the set list. As befits a classic prog epic, the peaks and valleys that nature provides are reflected in the contrasts between the bustle and the serene, a "tour du monde" that has all the requisites for sonic seduction.

An ornate piano introduces "Sacrifice", a vocal showcase that displays the wide variety of Sartori's skill and her ability to meander up and down the emotional ladder, with a convincing chorus loaded with celestial conviction. It also possesses a huge melody that remains long after the track has ended its run. Screwdriver guitar solo for the ages, the final surrender. The driving, Chris Allen propelled "Look to the East" could be a reference to the ongoing troubles in Ukraine or is it about the tragedy of Syria. The sweeping Middle Eastern influences are overt and ongoing, as expressed in their previous opus opener "Road to Cairo", a similarly sandstorm of sound and fury, once again sprinkled with imaginative words, sounds and voice. The highlight track for me is the nearly 12 minutes of "Forgiven", another same sized epic monster that is drenched is sensual forgiveness, elevated by a melody that seizes the heart and captures the soul, with a thunderous vocal performance from Sartori. The Gregorian chant-inspired Latin prayers are right down my alley, as she swoons and croons with absolved mastery. The sophisticated piano ripples, the potent lungs pleading, both densely championed by choir orchestrations and a fiery guitar exhortation that explodes into the ether. This is worth the wait and the purchase alone. The vaporous elegance of "The Night's Dance" offers another triumphantly gorgeous melodic line that can only slay this reviewer into kneeling at the shrine. Ian Jones wraps the perfect orchestrations with impeccable detail, his steady bass in complete harmony with Allen's sturdy drum support. Accessible and melodic prog does not get better than this! The futuristic inspired "Say Goodbye Tomorrow" is a melancholic rambler, certainly doom-laden as it is a cry for a fragile universe where one must search for "the truth behind the lies", steadfastly resisting the endless negative narrative and 'bringing life to a new day". Its not just complaining but actually finding resolve and solutions. The breezily sorrowful "Don't Forget My Name" is another attractive emotional roller coaster, with lyrics that delve in memories, shadows, eternal sunrise, tears falling like rain, whispers in a daydream and an echoing "please don't forget my name. Tight playing, sensorial impact, meaningful music in a simple, organic song. And the megalodon-sized 25 minutes+ Goliath title track which stamps the crimson waxed seal on this perfect album, without any question the most mature production in the Ian Jones canon of releases. During the running time, all those ingredients that make Karnataka a melodic prog institution are up front and centre. Sartori's suave delivery swerves between the bewitching Irish pipes that provide a dreamy and misty Celtic imagery, a cinematographic soundtrack where each instrument serves to impact the nodes and caress the soul with waves of beauty and passion. Luke Machin once again proves why he is one of the most sought-after axe slingers in Progland, combining immaculate technique with delirious feeling. He and Dave Bainbridge (ex-Iona and solo) are my current guitar darlings that crown the list of favourite musicians. The low-key piano driven second section is utterly dense with emotion, leading to a tectonic over-arching crescendo of soft and yet intense delight by our guitarist, a series of gut-wrenching solos to blow one's right head off, a sonic guillotine that leaves no splash or drivel. Another plunge, another elevation, synthesizers ablaze, bass dancing in full embrace and the ride continually invites endless pleasure. 80 minutes of melodic adventure of the very finest quality. An easy top 5 release for 2023. I am sure that lazland (www.lazland.org) will concur in complete agreement, please check out his impending and surely glowing review. Yes, folks, its that delicious.

5 faraway hymns

Eight years, yes eight years between albums. What on earth has been going on? Well, you will never know. Publicity and promotion is not this Jones' strong point. Fans? Where? Yes, they are out there, from Jones to them, nothing.

Taking yourself back to the original line up of the band, in the late nineties, there you will find the genus of the Karnataka sound. This was the real Karnataka, and also a REAL band. These early recordings mark also a consistent flaw. You would never find a whole album of decent songs. Delicate Flame of Desire would prove to be their best effort and to this day features wonderful group writing and numerous fan favourites.

But some things never last and there cometh a parting of the ways. Ever since a recurring trait under this moniker. Indeed Gonzalo Carrera walked away from this project and early live dates thankfully leaving us with credited composition and keys. Sadly no identification on a track by track basis in the sleeve notes to inform us if he plays on all tracks or the instruments played. There were I recall half assed tour dates with no live keyboard player. Sounds promising right? Have we come to an impasse where Carrera did not like or indeed Jones did not like the material produced? Had Carrera written many of the tracks now subsequently dropped by Jones after his exit? Has this lead to Sertari/Jones exclusive writing credits or was that indeed why this great musician left?

Fans will remain none the wiser but who can blame the man, some people like to work for a living, compose and be paid. This project dragged on and on, no end in sight, no album released, no extensive touring. Thank you, good day not for me.

So we reach 2023 and a new incarnation. A COVID album. Now many of these have bitten the dust upon their release as not passing muster. Fortunately things are a little better for this release.

Now in truth this should be called the Ian Jones project for from composer to bass to producer to graphic designer is the intent here. But unfortunately Alan Parsons he most certainly is not. Ambitious is the word but as those familiar with the Karnataka releases will know the sum of the parts always leaves something lacking.

Now, in pre-release, all the many months of it, there is no single or singles released in promotion. Indeed no pre-release audio of the product whatsoever. Nor for that matter any supporting video. But you may remember Forever from the depths of COVID. This track does not appear on the album and vocal production is, to say the least, very very different, funny that. Read on.

When it comes to chopping off stars you may find yourself questioning more than a few production and writing decisions and say is that flaw worth half a star or a full one?

Striking here is melody, song structure and the rich tapestry of musical layering in the compositions. That, as you will discover, is not necessarily a good thing. For many reviewers one sniff of the bar maid's melodic apron and they are sold. 'What a record, Karnataka's best yet.' It might be said that after twenty five years Jones finally has what might at first seem eight passable songs on the same recording. Yet what is the phrase? Don't look a gift horse in the mouth. For if you do the whole thing will unravel quite quickly.

There is frankly something of the rank amateur about what is finally submitted for mixing. Unquestioned is the work put in to assemble this recording and the creativity to add more to the mix than simply bass drums keys guitar and vocal. Unfortunately for Jones this needs a real producer. It is a credit to the polish of the mixing and mastering that these flaws remain for all to see. Jones is no Mike Oldfield. And that is the problem. On many occasions, if you know what you are looking for, you will you question production and direction and the necessity for an overseeing experienced executive to avoid many clunking mistakes. Does this sound like a band worked out these songs with a competent producer? No. Self recording rarely brings a bond between musicians on a recording. Unless, that is, the producers ear can make this seamless and unnoticeable.

If familiar with the chronology of the band you will find the best vocal performance so far from Sertari with what you would call straight ahead lyrics. Nothing poetic or allegorical here. However, the vocal is the best thing about this recording. The voice and backing vocals choir are very well mixed and mastered. If the girl has any sense she will get out of Dodge leave this lot behind and move on to much deserved better things. Hopefully this album will be a stepping stone.

As far as drummers go Chris Allen serves up British session, notes in the right places, let's leave it at that. Drumming styles are many and various and with this band I really enjoyed the work of Matt McDonough from umpteen incarnations ago. Nothing special to write home about here. Under rehearsed? No. Just plain vanilla. This one would not be a keeper

To select a noted highly gifted seasoned guitarist and then leave them out of song composition is shocking. There is far too little guitar here and what is, is formulaic in overly bloated overly lengthy 'songs'. If you forget what a guitar sounds like here is an A/B for you. Listen to Don't Forget my Name and then find the track Say a Prayer on the Secret album Stop This World. More on Jones the user later.

A couple of tracks could well grace BBC Radio 2, Say Goodbye Tomorrow and Don't Forget My Name. Yet time and again you will think how would a seasoned producer work these songs. Six minutes may well become four and the eleven of Forgiven would not be so. So call it a writing or production flaw it is what it is. You cannot write off the whole job here but the content of the end product is just not there.

Mr samples provides tints of symphonic, cinematic, Gregorian, electronic, house and percussive rhythmic styles. Yet these motifs stand out a mile and many times do not make any sense in being present based on what precedes or follows. Take Donockley off the title track and you would be none the wiser that he should play on it in the first place. Written and directed by movies are not always the best. A further case in point here.

Another question may be can you relate to these tracks lyrically ? We're back into mind bending COVID again and it's effects. Eclectic content definitely. Less four weddings and a funeral, more seven songs and twenty five minutes of oh you've done this before it's not as good as the last long one.

The eighth track. Ah the fly in the ointment or should that be flies. You will see the join is in the manufacture or construction of sound alike content in a track or two including the patchwork quilt of the title track; all twenty five minutes of which you don't need. The more times you hear it the more you will see the joins and the worse and worse the composition sounds. But back to the flies. Greta Thunberg, climate change and working out what sort of mood are you in to play this record? A veritable dog's breakfast.

But let's be realistic these guys aren't the best which is why they are where they are. In essence a musically well educated pub band of fine players, sticky floors and playing to a couple of hundred. Acid test can this lot cut it live? We'll find out. Oh and they'll want to sell you a live album if working doesn't prove too much of a hardship. The left always want paying for whilst doing as little as possible. Weeks and weeks of touring? Out on the road for months at a time? Not this lot.

The zenith of all things Karnataka? No. Here we find a multi-fractured miscellany where the cracks are plain for all to see. Deploying various homage and stylistic curios in both composition and production simply adds to the evidence. Ladies and gentlemen we have lipstick on a pig. Hooks a plenty don't cover up the failings.

It is very questionable how over nearly twenty years there is one constant member in a band. I can't say that this has been to the betterment of produced product on every occasion.

Remember this isn't a band. That disappeared post 2004, now nearly twenty years ago. Since then a mere three studio albums with associated live album con game.

From the post originals I would select Gonzalo Carrera, the magnificent Enrico Pinna and Sertari, leaving Jones on bass and then the difficult drummer berth to fill. Arguably the most technically gifted , the French incumbent of SOA proved to be sadly limited in style. I've seen nothing other than hit it hard play it loud from him which is a great shame, because this often proved a severe limitation. So Matt McDonough gets the nod for me. As I thought when the last K band was ditched there is no need to have Jones at all and these people should set up their own shop so to speak.

Back to this album. Seven reasonably listenable pieces with all the quirks and flaws as outlined above. This does not make this an easy album to listen to at all. As for the title track? Well, best read and leave it at that. We are not in tree hugging wokedom here but flaws are flaws.

So to the forthcoming Karnataka cover band playing twenty years plus of other people's music. Gun for hire is the way of life for many musicians and at the top table it is an honour to be invited to play on a leading artists material. But that is not the case here. Well educated musically gifted musicians are truly used by Jones on this project, as in used not in a nice way. This one is proving to be a 'look at me I can' advert where instrumentalists don't get a look in in the construction. No writing credits for every band member who were certainly sold a view from the hill.

And so to the strapline: 'Try a 0.005 stream' Simple really A/B this with a well produced good album by top musicians. Back to making cuckoo clocks for Mr Jones.

*

"New Light Live In Concert" is the third DVD of Karnataka that was released in 2012. The live performance has been recorded at the start of their New Light Tour at the Met Theatre in Bury, England on 23 February 2012. In early of 2012 the Welsh progressive rock band embarked on a fifteen date live tour across the UK. Under the name of New Light Tour 2012, the group reached as many areas of the country as possible, in particular those towns and villages they missed on many of their previous live tours. The band performed in some traditional theatres and art centres. Besides has been released on the DVD format, it was also been released in a double live CD and in the Blue-ray format. Beyond the entire live performance, the DVD also includes band's interviews with all members of the live tour and a tour photo gallery.

"New Light Live In Concert" marked the second biggest change in the line up of Karnataka. After the departure of three members of Karnataka, Lisa Fury, Ian Harris and Gonzalo Carrera, four new members joined the band. It features the new lead singer Hayley Griffiths which is a classically trained soprano singer who has achieved global recognition and critical acclaim for her role in the international phenomenon Riverdance and Michael Flatley's Lord Of The Dance. The other three new members in the band are the Turkish keyboardist Cagri Tozluoglu from Istanbul, the multi-instrumentalist Colin Mold, who was member of the folk rock band Kara and the session drummer Matt McDonough.

So, the line up on "New Light Live In Concert" is Hayley Griffiths (lead vocals), Enrico Pinna (backing vocals and guitars), Cagri Tozluoglu (keyboards), Colin Mold (backing vocals, violin and lead, rhythm and acoustic guitars), Ian Jones (bass and bass pedals) and Matt McDonough (drums and percussion).

"New Light Live In Concert" has fifteen tracks. The first track "Karnataka" was released on their third studio album "Delicate Flame Of Desire". The second track "Serpent And The Sea" was released on their fourth studio album "The Gathering Light". The third track "Delicate Flame Of Desire" was released on "Delicate Flame Of Desire". The fourth track "Heaven Can Wait" was released on their second studio album "The Storm". The fifth track "Tide To Fall" was released on "The Gathering Light". The sixth track "Forsaken" was released on "The Gathering Light" too. The seventh track "After The Rain" was released on "Delicate Flame Of Desire". The eighth track "The Calling" was released on "The Gathering Light". The ninth track "Lagan Love" was released on Hayley's solo studio album "Celtic Rose". The tenth track "Our Love" was released on Hayley's solo studio album "Silver Screen". The eleventh track "State Of Grace" was released on "The Gathering Light". The twelfth track "The Journey" was released on "The Storm". The thirteenth track "Your World" was released on "The Gathering Light". The fourteenth track "Heart Of Stone" was released on "Delicate Flame Of Desire". The fifteenth and last track "The Gathering Light" was released on "The Gathering Light".

The performance began introducing the heroes of this great concert evening, from the singer Hayley to the individual instrumentalists. It's a very interesting concert, well filmed and played. The camera work has been done well capturing the musicians at close range and from a distance showing the whole band in action. Karnataka is able to capture the heart of the recipient with its sound, delivering a lot of elation with its multi- coloured music shimmering like a rainbow. The strength of Karnataka's music is, without any doubt, its strong song material. It has an excellent balance between vocals and broadly drawn out instrumental work. Strong symphonic rock with neo-prog influences, topped with a Celtic sauce. The audience is sensitive to such fabulous sensations seeing this "new light" that emanates from this concert of the band. This is a very solid DVD. The camera work is calm and ensures that everyone is on the picture, capturing the details of the all performances without one musician crushing the other. The extras on the DVD are pretty sparse. The additions to this release are photos from the concert tour and an interesting 30-minute interview with Karnataka band.

Conclusion: Karnataka is a great band and this live concert is a great opportunity to get into their music. "New Light Live In Concert" is a great live show where Karnataka take their incredible talent and virtuosity and move it effortlessly into a live arena. This DVD benefits from a tremendous production and captures the details of the vocal performances as well as the new musical arrangements of the songs in the best possible way and in its 5.1 surround. As I wrote, in addition to the concert, it also includes interviews with all musicians where they talk about their background musical influences, their past as musicians and the past and the future of Karnataka. So, this is a DVD not to be missed, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

"The Gathering Light" is the fourth studio album of Karnataka and was released in 2010. It only happened seven years after their previous studio album "Delicate Flame Of Desire". Since then, the band have split and reformed with the only surviving member, Ian Jones, carrying the name forwards in a completely new incarnation. Thus, this is an album featuring almost a new line up, after the disbanded of the group in 2004 due to unforeseen personal circumstances. From their classic line up, Rachel Jones decided to take time out from the music business and Jonathan Edwards, Anne-Marie Helder, Paul Davies and Gavin Griffiths formed Panic Room, in 2006, remaining only Ian Jones in the group.

So, the line up of the album is Lisa Fury (lead vocals and percussion), Ian Jones (bass guitars, keyboards, piano, bass pedals, bodhran, percussion and programming), Enrico Pinna (lead, rhythm and acoustic guitars), Gonzalo Carrera (keyboards and piano) and Ian Harris (drums). It has also the participation of Troy Donockley (whistles and Uilleann pipes), Hugh McDowell (cello) and Philippe Honore, Bridget Davey, Clive Howard and Jane Fenton (violins).

"The Gathering Light" has eight tracks. The first track "The Calling" written by Jones starts the album with a very short and mellow instrumental piece of music. It's a song dominated by the Uilleann pipes performed by guest musician Troy Donockley, together with some atmospheric keyboard sounds played by Gonzalo Carrera and by Ian Jones himself. The second track "State Of Grace" written by Jones and Carrera represents another instrumental track. It's an up tempo piece of music that shows for the first time how strong are the new players with their instruments. Most of all, guitarist Enrico Pina shows how brilliant he is. This instrumental piece of music just sounds fantastic and at some moments it reminds me a little "Awaken" of Yes. The third track "Your World" written by Fury, Jones and Carrera is the song that gives for the first time the opportunity to hear the voice of the new female singer Lisa Fury. And the only thing I can say is that she shines in full glory. We can't compare Lisa's voice to the voice of the former female singer Rachel Jones. However, both voices are absolutely amazing and beautiful. The fourth track "Moment In Time" written by Fury and Jones represents a musical magic moment of music in terms of melody and vocal performance. It's true that it's a track with some pop influences, but however it's so beautiful that we can forget that. Once more we have the beautiful sound of the Uilleann pipes of Troy Donockley. The fifth track "The Serpent And The Sea" written by Fury and Jones is an epic track with over ten minutes long. Despite isn't a too complex song this is a song that suits very well with great musical performance by all band's members. In my humble opinion, the progressive rock influences rules are present on the entire album. The sixth track "Forsaken" written by Fury and Jones is probably one of the best tracks on the album. The climax of this song is just awesome and builds up to an incredible and great drum rhythms. It's a long song with great melody and orchestration that makes us completely surrender to it. Lisa has a wonderful gesture having dedicated this song to her mum and dad. The seventh track "Tide To Fall" written by Fury and Jones is a song that stands out from the rest of the album. It's an excellent song, once more with a very beautiful melody and with a clear slight Arabic feel. This is a song that my imagination can see clearly Lisa Fury to move eloquently like a real belly dancer. It's another great track, short, direct and effective. The eighth and last track is the title track "The Gathering Light" written by Fury, Jones and Carrera. It represents the perfect ending to this excellent comeback studio album of the band. Again we can hear Troy Donockley and his Uilleann pipes, the cello of Hugh McDowell and the wonderful string quartet for the first time. This is a monumental beautiful piece with masterful proportions that made many people love the music of them.

Conclusion: It's very impressive to me that a band that was practically reduced to ashes with only one remaining member may have returned from its grave with an album with the great quality of "The Gathering Light". All eight tracks are great and tender but it's in the details of the individual musicians that the magic of the album surely resides. Enrico Pina brings expression, sensitivity and emotion to his playing that the guitar melodies could be considered in the same way as vocal lines. Gonzalo Carrera has contributed to the album colours and every moment with his truly wonderful keyboard arrangements. These lead characters (guitars and keyboards), are very well supported throughout by a very dynamic and articulate rhythm section performed by Ian Jones and Ian Harris. Crowning the whole affair is Lisa Fury's vocal work. She contributes with emotional depth and passionate delivery with technical brilliance putting her with one of the best female vocalists, not only of her generation, but amongst those before her that left their distinctive mark in this genre of music. Thus, "The Gathering Light" is highly recommended to everybody who likes the older albums made by Karnataka, but also for those who like bands such as Yes, Genesis, Mostly Autumn, Iona, Clannad and Renaissance.

Prog is my Ferrari. Jem Godfrey (Frost*)

Formed in the late of the 90's, Karnataka has released two studio albums, "Karnataka" in 1998 and "The Storm" in 2000, previous to their third one, this "Delicate Flame Of Desire". With this album, Karnataka continued to presenting their uniquely British ethereal progressive rock without ever resorting to empty flash or needless instrumental noodling. Their music is different. Ethereal is the term I usually use to describe Karnataka's music. But, this is simply Karnataka.

So, "Delicate Flame Of Desire" is the third studio album of Karnataka and was released in 2003. It was the first album to feature the new member, Anne-Marie Helder. It was the final album by the classic line up. The band was disbanded in 2004 due to unforeseen circumstances. Rachel Jones decided to take time out from the music business and Jonathan Edwards, Anne-Marie Helder, Paul Davies and Gavin Griffiths formed Panic Room in 2006. Thus, only Ian Jones stayed.

So, the line up on the album is Rachel Jones (lead and backing vocals and percussion), Anne-Marie Helder (backing vocals, flutes and percussion), Paul Davies (lead and rhythm guitars), Jonathan Edwards (backing vocals and keyboards), Ian Jones (backing vocals, bass guitars, acoustic guitars and percussion) and Gavin Griffiths (drums and percussion). "Delicate Flame Of Desire" had also the participation of Heather Findlay of Mostly Autumn (baking vocals) and Steve Evans (programming).

"Delicate Flame Of Desire" has nine tracks. The first track "Karnataka" written by J. Edwards and I. Jones is a short instrumental track, a very interesting choice to begin the album. Decidedly, it has a Celtic musical influence, as much of the music of the band has, and acts beautifully as a prelude to the rest of the album. The second track "Time Stands Still" written by R. Jones, P. Davies, J. Edwards and I. Jones is a very beautiful track, and in my humble opinion, it's one of the best tracks on the album. It's a track that features some guest vocal participation of Heather Findlay of Mostly Autumn. This is undoubtedly a track with great harmony and where Ian Jones with his bass line does a very interesting work. The third track is the title track "Delicate Flame Of Desire" and was written by R. Jones, J. Edwards and I. Jones. It's a very melodic track with simple riffs and a very easy rhythm. It's very nice and beautiful to hear. This isn't properly a progressive music epic, but it's definitely a very nice and good song. The fourth track "After The Rain" written by R. Jones, J. Edwards and I. Jones is a very nice and simple song that sounds just great. It's a song that remains, for me, very close to the music of Renaissance. This is simply a very beautiful and pleasant song to hear, indeed. The fifth track "Strange Behaviour" written by R. Jones, J. Edwards and I. Jones is a track that opens with a very beautiful musical atmosphere. This is a very mellow and beautiful track, once more with a marvellous vocal performance by Rachel Jones. It has also a great guitar solo by Paul Davies in the second half of the song. The sixth track "The Right Time" written by R. Jones, P. Davies, J. Edwards and I. Jones represents another beautiful and mellow ballad with a very nice melody and an interesting guitar break. This is a song that reminds me Mostly Autumn, and this is probably one of the reasons that justify why Karnataka is sometimes compared with that group. The seventh track "One Breath Away" written by R. Jones and I. Jones is a track that opens with samples followed by a catchy and nice beat very well supported by the voice of Rachel Jones. Despite it's a nice track to hear, it represents, for me, the only weak musical moment on the album. The eighth track "Out Of Reach" written by R. Jones and I. Jones is another very beautiful and nice track that features some very interesting strummed guitar performance and a nice vocal performance. Despite be a very simple song it's very pleasant to hear too. The ninth and last track "Heart Of Stone" written by written by R. Jones, J. Edwards and I. Jones opens with a great musical atmosphere before the vocals join it. This is also a song with great work by all band's members and where the entire band shines very high. This is, in my humble opinion, one of the best tracks on the album and represents also the finest and most progressive moment on it. This is a nice end to the album.

Conclusion: Everything on this album is very well done. "Delicate Flame Of Desire" is a collection of wonderful and well crafted songs. The work of all band's members is great. It sounds magically driven by the beautiful, dynamic and evocative voice of Rachel Jones. Paul Davies supplies a beautiful and powerful guitar work that provides a tasteful and emotional guitar solos or folk acoustic guitar textures. Jonathan Edwards does a marvellous job creating the pastoral sonic landscape to the rest of the band. Ian Jones plays his bass, functioning in a perfect synchronization with the solid and precise drums of Gavin Griffiths. Add the mix back voice of the backing vocalist and flutist Anne-Marie Helder and we have the complete picture. Karnataka is an original prog band with their sound oscillating between the symphonic and folk. I'm convinced that "Delicate Flame Of Desire" is a great album and represents something they can be proud.

Prog is my Ferrari. Jem Godfrey (Frost*)

Karnataka is a prog rock band that was founded in Swansea, Wales, in UK, in 1997. Karnataka was disbanded in 2004, was reformed in 2005 and that decided to suspend their activity in the late of 2017. "The Storm" is the second studio album of Karnataka and was released in 2000. Curiously, it was recorded in 1999, in the studio of the bassist of the group Ian Jones. The album was mixed at the Rockfield Studios in Monmouthshire, Wales. Further live performances brought Karnataka to the attention of the record company Voiceprint that made the decision of distribute their albums.

The line up on the album is Rachel Jones (lead and backing vocals), Paul Davies (lead and rhythm guitars), Jonathan Edwards (keyboards), Ian Jones (bass guitars, acoustic guitars, bodhran and samples) and Gavin Griffiths (drums and percussion).

"The Storm" has ten tracks. All tracks were written by Rachel Jones, Jonathan Edwards and Ian Jones. The first track "Heaven Can Wait" is a gorgeous opener to the album. It starts with the sound of waves breaking on the sand, followed by a synthesizer harp like noise. After that, Rachel starts singing a beautiful and soft melody like we're in heaven. By chance this song represents my first contact with Karnataka's music. I checked this excellent track, incidentally, with "Mother Nature" of Mostly Autumn on the DVD "Progressive Rock Anthology", a DVD with a collection of ten progressive live concert clips of several progressive bands and artists, already reviewed by me on this site. The second track "Dreamer" represents another beautiful and excellent track with the celestial and unique voice of Rachel. If you've never heard Rachel's voice, it's somewhat similar to the voice of Heather Findlay of Mostly Autumn. However, Rachel's voice has a bit of a mystical style. Her voice shine's through most of the album's tracks. The third track "The Journey" is, in a certain way, an epic track in its proportions. It's a soft ballad with beautiful acoustic and electric guitar works and an orchestral keyboard work. This is a song with powerful vocal melodies and other musical passages with some other lovely vocal harmonies. The fourth track "Hay" is a good song with a nice melody and, once more, is beautifully sung by Rachel. However, this always was a song that just doesn't worked very well on me, really. Probably the band was trying to experiment a bit with this song, but in my opinion, the final result not worked very well. The fifth track "Love And Affection" is a striking song where Paul Davies' powerful lead guitar and Ian's bass combine magnificently with Rachel's most sensual lead vocals that soar with a unique texture, showing her crystalline vocal abilities. The sixth track "I Should Have Known" is a sensitive ballad with Paul's melodic electric guitar parts leading the song and with Rachel's singing beautifully and illustrating her great and crystalline vocal skills. On the song, melodic bass and lead guitar join perfectly with Jonathan Edwards' keyboards. The seventh track "Everything Must Change" represents the return to the soft ballads. Rachel's sensual lead vocals are underscored by many layers of contrasting vocal harmonies. It's a better song than "Hay" is, and it's much more enjoyable to hear, indeed. However, it isn't really a true memorable song of the album. The eighth track "Shine" is also a kind of an experimental song. It opens with a soaring acapella intro before the rocking instrumental kicks in. Rachel's vocals are interspersed with many powerful electric guitar and bass effects, rich keyboards instrumental arrangements and rocking percussion. The ninth track "Writing On The Wall" is a song with a powerful bass work and a melodic electric guitar performance that contrasts with the sensitive sung vocal parts made by Rachel Jones. This is another beautiful and melodic song in the same vein of the rest of the album. The tenth and last track is the title track "The Storm". This is a very pretty song with layers of backing vocals and Ian's melodic bass style that support the melody of the lead vocals and recorder. Scottish small pipes arranged and played by Peter Davies join the sounds of the sea and do a memorable closing to this track and to this magnificent album too.

Conclusion: Karnataka's "The Storm" is an exciting follow up studio album after their self titled debut studio album "Karnataka". It has ten stunning vocally oriented progressive rock tracks. Probably the only weak track on the album is "Hay". Certainly, this is an album that appeals to fans of Mostly Autumn, Iona, modern Clannad and Renaissance. All these are well written and performed songs that are timeless in its construction technically superb. I recommend this album vividly to all those, like me, who like the British progressive rock song oriented albums and beautiful and elegant music. Ten beautiful themes sung by an impressive voice that are worth being heard carefully in our most melancholic moments in Autumn time, the time that I'm making this review. Concluding, I'm absolutely convinced that progressive rock fans who don't mind a bit pop in progressive rock should definitely take note of this band and this release. It's very well made, for the most part of it, and the real bonus on it is to hear the beautiful and gorgeous voice of Rachel Jones.

Prog is my Ferrari. Jem Godfrey (Frost*)

This 90-minute gig was filmed in London's Mean Fiddler on 27 October 2001. At this point they had released two albums, although the set contains also songs from then-upcoming Delicate Flame of Desire. The music is melodic, accessible, clean and at times romantic. The prog elements are frankly pretty minimal, but that's the case wirh Karnataka's studio albums as well.

The location seems quite small and one cannot speak of any spectacular stage show. That of course doesn't really matter, but the visual quality is rather mediocre in an ordinary low-budget level of Classic Rock Legends production. The performances are okay, and the 15- song set list is very representative of the band. The fan will enjoy the show, no problem. Rachel is clearly the most magnetic figure in the group.

The extra features are technically modest. The photo gallery must be viewed clumsily pic by pic, no music backing either. More interesting is that there are extracts (approx. 2 minutes / 6 songs) from eight other live DVD's. The artists are Ian Gillan, Asia, Wishbone Ash, Caravan, Uriah Heep, Hawkwind, Strawbs and Rick Wakeman.

They perform all of the songs (except "One Breath Away") from their previous studio album "Delicate Flame of Desire", as well as many more selections from their other two albums. There are even a couple of "hidden track" songs tacked onto the last track "Out of Reach", which appear to be previously unreleased songs. With 134 minutes of music here, and a nice cd sleeve with photos of all the band members in concert, you really get your money's worth (assuming you can find it selling in the $20.00 range!).

If you're a newcomer to this band from Wales, Karnataka's music is sort of a cross between progressive rock and classic rock, with some Celtic/folk influences. They probably share the closest similarities with Mostly Autumn, except the vocals are all female. But you'll also find references to Hogarth-era Marillion, Genesis, Enya and some Renaissance. While their songs are mostly in the 5-7 minute range, they successfully weave romantic themes with lush, hypnotic atmospheres and catchy melodies.

The sound production on this live album is really great. Jones' fine vocals are harmonized sweetly with the voice of Anne-Marie Helder (who also plays flute). The standout instrumentalist in these performances has to be Paul Davies whose Andy Latimer/David Gilmour guitar passages really shine here on this cd - even more than on the studio albums.

This album will appeal to many lovers of music in general. There aren't any "killer" tracks that stand out and really move you, but there also aren't any "clunkers". Just a lot of good, pleasurable music of a slightly different nature. I recommend this cd as a great overview of a very entertaining band.