InsideOut – 0505630 – http://www.insideoutmusic.com/
Extended Version 2 CD with hardbound booklet with lyrics, credits and photos
(Also available on vinyl): http://www.hackettsongs.com/
CD 1: 1) Loch Lomond; 2) The Phoenix Flown; 3) Wanderlust; 4) Til These Eyes; 5) Prairie Angel; 6) A Place Called Freedom; 7) Between The Sunset And The Coconut Palms; 8) Waking To Life; 9) Two Faces Of Cairo; 10) Looking For Fantasy; 11) Summer’s Breath; 12) Catwalk; 13) Turn This Island Earth
CD 2 (Limited Edition Bonus): 1) Four Winds: North; 2) Four Winds: South; 3) Four Winds: East; 4) Four Winds: West; 5) Pieds En L’Air; 6) She Said Maybe; 7) Enter The Night; 8) Eruption: Tommy; 9) Reconditioned Nightmare
Released in the Fall of 2011, “Beyond the Shrouded Horizon” is an album that has been in steady rotation in my music room and on my iPod since that time, but I wanted to have some time to better absorb the album before writing about it.
Since the release of his last introspective album, “Out of the Tunnel’s Mouth”, there have been many changes in Steve Hackett’s life, he has married his collaborator/partner Jo [Lehmann] Hackett, gotten the rights back to his recording studio as well as his musical works. My impression is that “Out of the Tunnel’s Mouth” is a deeply personal work and somewhat a reaction to his divorce during that period. “Beyond the Shrouded Horizon” [BtSH] is a departure from those inward themes and seems to be more outward looking, explorations and is a journey of discovery and reinvention that Hackett has been known for over his career. Hackett doesn’t stay still, musically for too long, although his work is immediately identifiable—a blend of the familiar along with the new. I wouldn’t necessarily label “BtSH” a concept album, but the pieces are thematically linked.
Aside from his roots being dipped in the blues, Hackett has always been an experimenter with sounds, effect & guitar techniques (he is credited with the fretboard “tapping” style he first introduced on the Genesis album “Nursery Cryme”). It has also been written that prior to his audition for Genesis, SH was preparing, not by playing songs of the day, but exploring new sounds with his guitar, amp and equipment.
SH has released nearly 40 studio and live albums since his departure from the band Genesis in 1977. Sadly, many still associate his musical identity largely with his work with Genesis (though his work with them was an essential part of their output from 1971 through 1977). Hackett, however, has had a rich solo career delving into many genres of music: electric and acoustic, blues, progressive rock, classical and including eastern Europe to the Middle and Far Eastern musical influences. He was also one of the first rock artists to release an “unplugged” album, “Bay Of Kings”, in 1983 (leaving his then label, Charisma Records, to do it). The music press has labeled some of his work as more heavily produced or commercial progressive rock (and was quite successful on the Billboard Charts), like the 1986 eponymous album “GTR” with Steve Howe, Max Bacon, Phil Spalding and Jonathan Mover (produced by Geoff Downes). He has collaborated with a broad range of artists: his brother John Hackett, Nick Magnus, John Wetton, Ian McDonald, Djabe, Chris Squire, Julian Colbeck, Anthony Phillips (and I have left many names off this rather short “long” list), and his current live band including: Roger King, Gary O’Toole, Nick Beggs, Amanda Lehmann and Rob Townsend.
Since his first solo work from 1975 (while still with Genesis), “Voyage of the Acolyte”, each album has included an inventive range of sounds and emotions from the most tender to the ferocious and dark. More recently, keyboardist Roger King has been a close collaborator, co-songwriter, and technical advisor with Hackett. Jo [Lehmann] Hackett also co-wrote some songs on SH’s previous album “OOTTM”, but for “BtSH” most of the songs are written by the trio of SH, RK & JH with two song credits added for Steve Howe and Jonathan Mover.
In many respects this album and back to his albums including “Dark Town” from 1999, have a strong cinematic quality—very visual and punctuated with scene and mood changes and transitional links between pieces. Many of the breaks and tempo changes during a given song are similar to cuts in a film, shifting from broad to intimate scenes (from full orchestra to lone nylon guitar). The contrasts throughout the album (to heighten dramatic effect) are not unlike those techniques used by Robert Fripp et al in many earlier King Crimson’s albums, up to the album “Red”.
“Beyond the Shrouded Horizon” is a journey (but there is a sense of a shifting timeline and locations). The album opens with a broad electric anthem, “Loch Lomond” (the largest freshwater lake in Great Britain, north of Glasgow, Scotland). It appears to be a departure, leaving the old behind to seek the new. There are alternating sections of fierce electric guitar choruses and acoustic accompaniment during the verses that documents the journey outward. The next two pieces “The Phoenix Flown” and “Wanderlust” serve as first a majestic transport to the next destination with an acoustic six-string pause before the next piece.
“Til These Eyes”, I think, is one of the most beautiful ballads that Hackett & Co. has ever recorded. It has a sense of reflective melancholy. It is a song of a mature voice and clearly speaks from a life of experience. SH’s vocals are sung in a low (almost weary) register and are well suited with the symbolism of the lyrics and accompanying music. It has the feeling of a ship’s captain, reviewing his life in a logbook, mulling over the mistakes, the losses and what is sought upon arrival at the ultimate destination: “…til these eyes have seen love.”
The journey continues and is announced by the instrumental “Prairie Angel”. The piece begins with a first languid and then rhythmic electric guitar and then transitions to a raucous blues chorus (with SH playing harmonica) and this leads to a not entirely clear but distinct western destination, “A Place Called Freedom” and a love seen and sought. The original “Prairie Angel” electric guitar theme returns to close the song.
“Between The Sunset And The Coconut Palms” is a lullaby of sorts, a dream while traveling into the night with an orchestral interlude reminiscent of the waves carrying the ship into the next port. “Waking To Life” is the arrival in a different land (and Amanda Lehmann sings vocals). The piece is a cross-fertilization of Middle and Far Eastern music influences (even a sense of a Bollywood production) with an expansive orchestra following an electric guitar solo. The closing instrumental passage and guitar solo appears to be homage to the 1978 piece “Please Don’t Touch”.
The ominous transitional flute introduction to the “Two Faces of Cairo” is reminiscent of John Hackett’s opening to “The Steppes” from the 1980 album “Defector” and then the scene is that of (and almost presages, given the time this album was recorded) the political upheaval of the recent Egyptian revolution. An ensemble of percussion beats out the protest and is accompanied by a searing guitar solo by SH with an intermingled orchestra. “Looking For Fantasy” seems to be another point of reflection from a different point of view and during another time, a Camelot of sorts.
“Summer’s Breath” is a nylon-stringed interlude with distant voices on the beach. Hackett has such a gift for expressing emotions through his guitar. This transitions into a moody and raucous blues piece, “Catwalk”, which recalls his album “Blues With A Feeling” from 1995. One section has a fret board tapping run and solo that just rips a hole in the shifting time window of the journey (louder is better here).
“Turn This Island Earth” is the result of the collaboration of the three main songwriters along with Howe and Mover. It is the portion of the album where the travel is science fiction. It is the broadest, most orchestral, and dramatic piece on the album. It is certainly taking cues from the days of GTR. There is a middle section following an orchestral catharsis that borrows the theme of “Leaving” from the album “Defector” before moving to a dreamy march section with vocals. The mood shifts in this piece are quite dramatic and the musical scenes are as broad as the distance traveled (even with a snippet of Greensleeves) as the journey closes.
Throughout the album, there is a mix of acoustic and electric guitars, extensive keyboards (with digital orchestral sampling), woodwinds and strong support from the rhythm section of the band. Unlike the last release (where the drums were digital samples) “BtSH” includes both digitally sampled and actual percussion by Gary O’Toole and Simon Phillips. The recording varies from broad to sharply compressed (heightening the scenes) and from densely layered to the intimacy of a single guitar (that sounds as if SH is playing in one’s room). It’s an exciting journey and I hope SH continues to record and tour, for many years to come.
The bonus CD includes an interesting collection tracks (and well worth the added expense, although the track “Eruption: Tommy” is dropped on the LP set). A four-part suite entitled “Four Winds” (North, East, South and West) co-written by Hackett and King (except part three by Hackett and Benedict Fenner). The fifth piece “Pieds En L’Air” is movement five of the Capriol Suite written by Peter Warlock in 1926 and beautifully played by the trio (as a quartet) of Dick Driver on double bass, Richard Stuart on cello and Christine Townsend on both violin and viola. From this piece, it is not difficult to hear where the flowing lyrical quality has influenced SH’s work, especially his acoustic guitar pieces. “She Said Maybe” by Hackett and King is a Jazz-like piece that (for me) recalls some of Allan Holdsworth’s or Jan Akkerman’s work, a steady rhythm section and musical improvisations by both Hackett on guitar and King on keyboards, both solo and together. “Enter The Night” is a vocal version of “Depth Charge” from the 1991 live album “Time Lapse”, but this appears to be a re-recording of the piece (credited to Hackett, King and Jo Hackett). It is difficult to pick a stand out in this second CD, but “Eruption: Tommy” (actually written by Tom Barlage of the band “Solution”, not Thijs Van Leer as credited) made famous by the Dutch band “Focus” on their 1971 “Focus II” album is an absolutely splendid cover of this work. The CD closes with a re-recording of “The Air-Conditioned Nightmare” from the 1981 album “Cured”, recast as “Reconditioned Nightmare”.
Note: This article will be published shortly at an online music and audio equipment-related e-zine.
From the recording of Loch Lomond: