GENIUS LOCI

One of the most talented and accomplished lineups in progressive rock music, these artists seem to be getting better as they age, mellowing and not requiring the intense complexities, expressing a rarely encountered mastery of space and understatement--accomplishing more with less. Though these songs feel so easy and smooth, the note-by-note renderings are quite complex and rarely predictable.

1. "Eilmer" (9:33) jumping right into story telling with Amy singing from the opening note, she is supported by a spacious, almost jazzy arrangement of chunky bass, dirty guitar, distant electric piano, and syncopatedly accented drums. The weave is steady and rather bucolic despite its electric bass, while Amy's nontraditional melody lines and poetic imagery kind of lull us into comfort and melancholy. (Words from previous generations often seem much more appropriate for trying to capture the essence of TK's songs. Class and literacy ooze from their work.) The guitar solo in the sixth minute sounds so much like something that one would find on a STEELY DAN album! Wow! I am speechless! That was so sublime and mature! The build up and climax in the second half is so subtle yet insistent that I find myself shocked when it's over. Great song! Great construction and admirable restraint in its abridgement. (19/20)

2. "Uffington" (11:35) Sublime beauty with that "simple complexity" of which I wrote in the lead paragraph above. There is such a wonderful Becker-Fagen-Katz feel to this music! The band definitely feels more likely to play in a jazz house than a rock stadium. There is an important element--an expression or emulation of reverence for Nature--in this music, one might go so far as to claim that it is in fact essential. (18.25/20)

3. "The Poison Garden" (3:50) piano intro, gorgeous and contemplative, soon joined by the pastoral imagery of Amy's lyrics sung in her usual unpredictable melodies. Beautiful, poignant, timeless. Another one best performed in the intimate, smoky darkness of the jazz lounge. (9/10)

4. "The Voice of the Lar" (20:06) opens up sounding like the jazzy side of YES: early Steve Howe, Tony, Kaye, Bill Bruford, and Chris Squire. At 6:53 there is an interesting shift into a Mellotron-and-organ-based almost Jean-Luc Ponty/Weather Report feel. At 8:30 Amy makes her first appearance with very simple and sparse accompaniment from electric piano, Mellotron, sparse bass, and cymbal play. A minute later the Yes-sound has returned while Amy continues singing. Definitely an old Time and a Word feel to the music--especially in the guitar play as this section continues. At 11:15 there is another jazzy bridge before we enter into another instrumental section--this one more a set up for some TONY BANKS-like electronic keyboard soloing. Amy returns at 12:55 while the band plays the same early YES weave. Thanks to Johan Brand and Thomas Johnson, this never gets old or boring. In the fifteenth minute there is a switch to piano base and more odd tempo constructs and accents, then to swirling organ, chunky bass, and complex PETE TOWNSEND-like guitar chord strums. Paul Mallyon is brilliant here! Amy returns to sing over the final couple minutes as the 'tron-led YES-musicians build up to their finale. Flawless composition and performances only rated down for lack of super-refreshing surprises, a little lack of diversity. It's not often bands pay tribute to early YES! (36.25/40)

5. "Mirie It Is" (8:52) opens like a a Rickie Lee Jones piano song before Amy enters singing in an ancient language. Flute bridges the first verse to the second, opens the way for bass, percussions, and electronic keyboards to join in. What a masterful, beautiful construct! Three minutes in and Amy's only sung that initial verse: it's all been instrumental since then! Masterful performances from Anna Holmgren on the flute, Johan Brand on the chunky, forward-mixed bass, Thomas Johnson on keys, and Paul Mallyon on the drums. What 'nglag'rd would have sounded like if they had slowed it down and played with space and time more. When Phil finally joins in with two guitar tracks in the sixth minute, it's like the king has arrived! The simple and yet numerous keyboard contributions made by Thomas Johnson are so perfect! Like listening to Mike Oldfield slowed down for effect. It's not until the final minute that the music d back to the simple piano accompaniment with which Amy sings her second and final verse (same as the first). Perfection! One of my favorite songs of the year! (20/20)

Total Time 53:56

Five stars; a veritable masterpiece of mature and impressive progressive rock compositions. Definitely my vote for Album of the Year (... so far).