HADAL SHERPA

Well, I'm going to say bravo to those who knew HADAL SHERPA, this Finnish quintet from VANTAA, before me. A band that plays somewhere between post-rock and psychedelic space rock, with strong ethnic overtones in some tracks. In short, another album that came out of nowhere but is nonetheless interesting. The eight tracks presented here are long, with the shortest clocking in at 7:20.

It starts off very strong with the two-part track "Nautilus," which clocks in at over fifteen minutes. The first half is simply superb, with, in addition to the musicians from the band, a classy flute performance that makes this piece simply essential, catchy, and ultra-melodic. It's still the guest flute player who leads the dance in the second half, a flute that obviously brings to mind that of Thijs VAN LEER, the brilliant Dutch instrumentalist from FOCUS, and which makes this second half as essential as the first, with the added bonus of a damn bouzouki (Vesa PASANEN), which isn't the most widely used instrument in progressive rock.

A change of scenery for "Chafa Azeno" and here we enter fully into the ethnic part of the album; It's impossible not to make the connection (musically, of course) with the British lunatics of OZRIC TENTACLES. Everything feels right at home here: the rhythm is devilishly Arabic, Ilja JUUTILAINEN's percussion is remarkably clear and precise, and the soloists (guitar and keyboards) brilliantly contribute to the party. This is a piece of great solidity and inventiveness despite a rather abrupt ending. With "Ikaros," which follows, it's back to square one. The ethnic side is minimalist, the inspiration probably Greek (etymologically speaking), since there's also bouzouki here, with a slightly bouncy rhythm, and once again, the excellent percussion of the aptly named Ilja and the multiple keyboards of Matti ELSINEN, simply brilliant.

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Since we're in the south of EUROPE, let's go even further southeast and to another continent with the longest track on the album, "Heracleion," an ancient city of ancient EGYPT. A return to a sober, progressive, ethnic-symphonic sound, this time driven by the devilishly furious guitars in the first half and much more Middle Eastern in the second (but still under the fire of the six strings). It's highly original but not easy to listen to given the length of the piece.

For "Marracech," we move to the same latitude but further west, a track that's completely Arab in both its title and its musical development, the one I like the least on the entire album. The nearly ten-minute "Abyss" is a tear-jerker, composed with a false symphonic rhythm that intensifies as the track progresses, punctuated by the guitars of Vesa Pasanen and Ville Kainulainen (no ethno-music here). The closing track also didn't seem very digestible to me, despite a trumpet solo (a rather rare instrument in progressive music) by Olli Rautiainen, a track made up of multiple breaks that are difficult to follow...

In conclusion, four major pieces (1/2/4/5), the rest a notch below par due to the complexity and musical niche chosen by Hadal Sherpa.

Hadal Sherpa hail from Vantaa, Finland and they were formed in 2013 but their debut (and only album so far) was released in 2017. The mastermind of the band is Vesa Pasanen (Guitar, bouzouki, keyboards, percussion) who wrote all the songs which are purely instrumental. Forget about intricate guitar or keyboard solos or jammings to flesh out the songs, this is only actual compositions. From the get-go, the flute enters the picture providing the leading melodies. When the guitar takes over, I can distinguish some eastern influences on the playing through some microtones. The first part of Nautilus attracts the interest of the listener and the second part is one of my favourite intrumental songs, ever. Sublime melodies (on the flute, the guitar, the keyboards), the song goes by in a flash. By now I am already fired up but Chafa Azeno that follows is a bit too ethnic for my taste. I wonder where Vesa Pasanen got these influences from, given that they are too eastern. Sometimes the music slips into the Surf genre, too. Another negative element, to my ears, is that sometimes a melody is repeated way too often and this song, in particular, from the 5th minute has outstayed its welcome. Having said all of the above, it is still a song I never skip. Ikaros restores my interest with its airy, flowing feeling it emanates. Then comes Heracleion and by now I strongly suspect a connection to Greece. This time the guitar is responsible to bring out the melodies. Everything goes fine until on the 7th minute the ethnic influences are introduced once again. Fortunately the band recaps the initial feel shortly after and the damage is not much. The group shifts gears on Marracesh which is heavier and groovier and on Abyss the music goes along with the title and it is darker and more mysterious. The bass lines play a key role to that and the bluesy guitar accompanied by the hammond work wonders. Halfway the song becomes increasingly livelier providing the much- desired diversity, but on Black Elk the ethnic and Surf influences are back which is too much for my taste and it is my least favourite of the album. Perhaps it is also that we are already one hour in and I get tired more easily. This is another thought that occurred to me, the album would be much better if it was a bit more succint.

Conclusion: It's one of the times that I'd like to use 3,5 stars. I really can't make up my mind if it is a "Good, but not essential release" or if it is an "excellent addition to any prog collection", but I can tell you this: if the absence of vocals isn't a nuisance to you and if you are in for some ethnic elements, you should definitely check this album out. The boys have come up with some really good music.

3.5 stars. HADAL SHERPA are a five piece band out of Finland and this is their debut from 2017. Pretty much keyboards, guitar, bass and drums with Vesa here being the multi instrumentalist, composer and leader also adding guitar, keyboards as well as bouzouki. I really like the cover art and this was self released by the band. The music really comes across to me as symphonic space rock with a lot of mid-paced music and a strong ethnic vibe on some tracks. HIDRIA SPACEFOLK might be a good comparison. This is instrumental and fairly long at 68 minutes. We get some guests adding flute, trumpet and percussion all on that final track although the flute will show up on the first two songs as well. Some cello from the bass player too.

I have a top three although "Ikaros" for me stands out as the best bar none. I really like the way it sounds with that picked guitar and brighter sound. Some organ too and they amp things up eventually. The way it ends is really cool the way it sort of disintegrates to a spacey ending. "Heracleion" is the next track and my second favourite. It's the longest at over 11 minutes. Great spacey intro then we're teased by the bass followed by drums and more. Spacey synths late. "Abyss" is the final top three and this one is about the atmosphere early on. Bass and haunting sounds 2 minutes in. It does get heavier later. There's some ethnic dominated pieces like "Marracech" not surprisingly along with "Chafa Azeno" and the closer "Black Elk".

A lot of positive reviews for this one, it's quite the debut. Having spent about a year now listening to psychedelic music I can say the is really good but down the way a fair amount when it comes to favourites of this stye. OZRIC TENTACLE fans seem to dig this album as well. I do recommend it, there's lots to enjoy here but it's just not a keeper for me.

Glad to meet this creation. A Finnish promising psychedelic rock unit HADAL SHARPA have finally released their debut eponymous album in 2017, including their 'icon' track 'Chafa Azeno', that was introduced for me by the guitarist Ville a while ago. This single track via Indie Go-go Campaign was so exciting for me enough to look forward to their first full-length album, and the debut was as fantastic as expected. Yes like an eyeball in front of a facially formed tree, their soundscape is wide, wild, and weird.

One of their masterpieces 'Chafa Azeno' is filled with their liberal creativity and mysterious sensitivity. There is apparently ethnic texture like an Indian folk song featuring electric sitar sounds. This sound method reminds me of Avaruuskorpraali Paha Hirvi, one of Space Rock combo hailing from Finland. But Hadal Sherpa's attitude to progressive rock is not imitating such a tribalism or ethnicity to produce so-called psychedelic progressive / space rock but digesting the melodic method out for training their progressive rock muscles.

The opening suite 'Nautilus' is more acceptable spacey rock tinged with pop flavour. It's flooded with percussive dreamy beats and comfortable danceable flute timbre. Gentle, melodious guitar play is pretty cool, delicious. 'Ikaros' is sorta theatre of his story - he'd flown to the sky with his 'wings', and fallen to dead after losing the wings - there are hope, dream, and crisis via their distorted sound and groove. 'Marracech' goes forward speedily and powerfully leaning towards my favourite space rock song 'Kaleidoscope' by Rara Avis In Terris. The last 'Black Elk' is orientally aromatic and deeply narcistic ... repetitive heavy movements surely drive us mad.

In conclusion, they adopt their original ethnicity and reasonable pop sense also with linkage towards psychedelic progressive / space rock definition. Will be one of the best progressive rock debut shots in 2017, I suggest?