THE AFFINITY OEUVRE

Multi-instrumentalist and singer Ellsworth Hall started Aethellis as a solo project in 2002, releasing his debut album the following year. He then brought in some other musicians so he could perform the music live, and in 2011 returned to the studio with them to record 'Northumbria'. This was as a full band, but there have been some changes again since then and now Aethellis comprises just two other musicians, both of whom were involved in that, Mark Van Natta (guitar, vocals, bass, keyboards) and Erik Marks (bass), while Ellsworth provides keyboards, vocals, guitar and drum controller. I must confess this never sounds like a modern album, but instead has its heart very much in the very early Eighties, combining American melodic rock with lightweight progressive so it has a very different feel to what we were hearing in the UK with the likes of Twelfth Night, Marillion, Pallas, Dagaband and others. That is due to it being mostly soft melodic rock with some progressive tendencies and nuances here and there as opposed to being "straight" prog. I would have loved to have heard this with a full band as one can only do so much with programmed drums, although Ellsworth certainly works them hard, and the keyboard synthesized brass does not have the power and intensity of the real thing. However, the bass is often quite superb with some lovely warmth, although there are times when that also sounds as if it is coming from keyboards.

There is something of a lack of depth within the arrangements which I am sure would have been addressed if this was a band as opposed to a project, but this is just one musical area for Ellsworth who also works in classical music, library music, and providing music for games. It is passable, but when I finish playing it I am unable to remember anything about what I have listened to as it is somewhat lightweight. Opening track, "Anandia", show promise at more than 12 minutes in length but there are only two others which manage to make it past five and most of the rest are less than four. The material is not strong enough to be memorable, and the reduction in personnel also means we are not getting the best out of it. Not one to which I will be quickly returning.

PROG, POP, FUNK OR JAZZ??

By Boulevard Denim

The latest Aethellis release differs from the previous three as the spotlight is on guitarist/vocalist Mark Van Natta, both compositionally and vocally. Keyboardist Ellsworth Hall only sings on two tracks, "Anandia" and "Another Car." It's not clear who is singing on "Pathdancer" as it sounds like neither Ellsworth or Mark.

The album personnel this go-round consists of just Ellsworth Hall (keyboards, vocals, guitar, drum controller), Mark Van Natta (guitar, vocals, bass, keyboard) and Erik Marks (bass). Absent is drummer Mike Harrington who contributed top-drawer playing on the previous two albums with such tracks as "Sounds Good" and "Janice." However, it has come to light that while those previous releases were touted in reviews as having "full band" performances (and thereby satisfying the reviewers' bias that they were more desirable), Ellsworth actually contributed a major portion of the drum tracks, as well as some guitar and keyboard bass. But no surprise there as he handled all that and vocals on the first album; this is well known.

But Mark Van Natta is a strong influence on The Affinity Oeuvre, contributing pop, funk and jazz tracks to the mix.

The album kicks off with a 12-minute prog tune, "Anandia" (about a child refugee of war) with piano intro, Mellotron sounds, catchy melodies and odd time signature riffs. And a bit of dissonance in the instrumental section. This track is Ellsworth's sole prog contribution with some soaring vocal harmonies. Of Aethellis epics, only "A Home In Your Thoughts/Second Home In Your Thoughts" (from the previous release) clocks in longer at 15 minutes.

Mark's influence is evident with "Affinifunk," a funk tune with a nice groove and fabulous blistering guitar solo.

"Pathdancer" is Ellsworth's sole jazz contribution to the album complete with scat singing towards the end. Tasteful playing with lots of modulations. Like many of Tony Banks' compositions, Ellsworth never stays in one key for very long.

Then we move into pop territory with Mark's tunes "Do Like I Do" (complete with a brass ensemble finale) and "Dreams On Pause," a lament to the confinements of the COVID period. Another Mark Van Natta pop tune with a Greg Hawkes-style synth solo, "Let Me Be Me" round out the pop selections. Mark also played bass on these tracks as well as a bit of keyboard. And, of course, performed the vocals. An all-arounder as well!

"Another Car" (music by Ellsworth with lyrics by Ed Hopf) is an amusing homage/satire of New Wave songs from the early 80s. But a bit more atonal in places than actual songs from the period. Progressive New Wave?

Another excursion into jazz, the Hank Levy-inspired "Chicago News" penned by Mark Van Natta, is a tour de force of odd time signatures and big band arrangements.

We return to funk with bassist Erik Marks' "The Stennis Compromise" (a Watergate reference?). A solid bass groove and jazz chords are the highlight of this short ditty.

The album is rounded out with Mark's reggae-influenced "Why Do You Keep Fighting" (a call for peace) and the bizarre jazz-fusion track "RIP" which is rather dissonant, with fast and furious guitar work. The guitar's quartal harmonies add to the jazz flavor. "RIP" is a co-written track with Ellsworth from their Affinity Band days (hence the album title).

So, if you're looking for a full-on prog album, you might be disappointed in The Affinity Oeuvre.. While it contains some prog elements, it spans other genres such as New Wave, Jazz Fusion, Funk and Pop. And tracks like "RIP" are far from mainstream if not strictly prog. But if you're willing to be open to Aethellis' take on other genres you might enjoy it. Prog is an eclectic melting pot of different styles after all. The album has some of Mark Van Natta's best guitar solos.

The album is on the Revolution Records label.