RISE AND FALL

John Holden, a name to remember and a prime candidate for an upcoming "I told you so", unleashed his debut album "Capture Light" which not only captured my interest but also shed light on a composer of great talent, with a unique style that is nevertheless firmly entrenched in classic symphonic prog mold. His primary skill is composing melodies that stand the test of effort and time, highly adventurous and creative, encompassing all the recipes of similarly successful British artists (The Enid, Oldfield, Hackett, Bainbridge etc?). His second massively successful attribute is to surround himself with some pretty impressive talents in their own right: Sally Minnear and Dave Fitzgerald from Celestial Fire, Jean Pageau and Michel St-Pere of Mystery, Joe Payne (the Enid), Peter Jones with Camel, Red Bazar and Tiger Moth Tales, Jon Camp (Renaissance) and other names like Oliver Wakeman, Billy Sherwood and Nick D'Virgilio as well as many others. His third proficiency is being a multi-instrumentalist who can handle the Big Four (gt, k, b, drs). Add some fabulous cover art and Presto! A star is born. I am sure he will become a stalwart addition to the prog community in the future.

The 7 tracks presented on his sophomore 2020 recording "Rise & Fall" all gleam with shimmering beauty, heartfelt impact, and technical prowess. Expertly constructed and delightfully scored, the lush style welds music and lyrics that leave a lasting impression, effortlessly gliding into the pleasure nodes, like aural anesthesia. This impression is indelibly stamped on the opening epic 10 minute+ "Leap of Faith", a symphonic/pastoral reverie that has all the sonic beauty one can hope for, an orchestrated adventure featuring Peter Jones' sacral voice, intensified by choral backdrops, adding some light rhythmic muscle, whilst weaving a compelling arrangement that covers all the bases with sumptuous detail. It definitely establishes a "religious" feel, as if playing in some ancient cathedral, where solemn resonance and mystic bliss coalesce.

The title track has Jean Pageau on vocals, in a more conventional neo-prog musical setting, neatly accessible in its simplicity and splendor, with Jon Camp's bellowing bass rumbling underneath. Oliver Day unleashes an echo-laden lap steel guitar foray as well as a more conventional electric solo. Mature and intelligent music. The Golden Thread introduces a duet between Joe Payne and Lauren Nolan, two deliriously suave voices, welded together in a classical setting with loads of strings and Oliver Wakeman's erudite piano. Forlorn atmosphere, grandiose in scope as if some movie soundtrack song, finalized by some cinematographic percussion and choir. The tender placidity is rudely bullied by the appropriately titled "Dark Arts", a somber musical reflection that has buzzing guitars, a deliciously vibrant Billy Sherwood bass ramble with NDV on drums pounding surely. Payne delivers a less spectral vocal, as the piece swirls from soft to hard settings, all slayed by a sizzling Zaid Crowe guitar intervention. A wonderful shift in mood and atmosphere.

"Heretic" is another extended piece that has manifold facets to discover. Joe Payne is in fine voice, ably aided by Sally Minnear, accompanied by Vikram Shankar's deft piano, in a romantically overpowering anthem, soaring together in perfect harmony. A tortuous guitar solo ensues with tough Fitzgerald bass underpinning and jungle percussion as a mid-section before returning to the graceful duet. Thoroughly enjoyable. "After the Storm" is another mood setter, Sally's redolent voice gliding solemnly over the glittering piano and a flashy guitar solo from Oliver Day, followed by a whistling synth line, and back to the pastoral eloquence. The final track is probably the highlight apex, a majestic stamp of genius that engulfs the listener in sheer delight, with an expressive platform of emotional singing by Joe, Jean, Lauren and Sally and instrumental interplay of the highest order. In the mid-section, the chorus soars to the heavens with weaving harmony vocals, intensely evocative. Michel St-Père lights in up with his usual brilliant technique with a swift but expressive blast. This climaxes into a paroxysm of feeling and overpowering lift, followed by gentle outro.

Already looking forward to his imminently to be released next one, where more of the same quality is expected and hopefully, take John Holden' s craft up there with the big boys.

4.5 Up and down buttons