The One are a Dutch band newly signed to Construction Records in The Netherlands and have released their debut album, Sunrise. They are the label’s second signing, hot on the heels of the exceptional album Sever by Inhalo last year. This is a label committed to quality rock music and my website follows their output extremely closely.
The band was formed by experienced musician and producer, Timothy van der Holst. He contacted British musician/lyricist Frank 'Fish' Ayers and together they created this work with the assistance of Dutch guitarist Edwin in 't Veld and the British singer Max Gilkes. Other contributions are made by American guitarist Fernando Perdomo, the Dutch guitarist Luca Giordano, and singer Maarten Teekens. Aside from these, Holst plays all instruments, and therefore becomes but the latest in an increasingly long line of chaps who really are far too clever for their own good. I jest. Throughout this album, the quality of production and musicianship is top notch.
The title of the album is derived from the fact that Ayers created the lyrics first thing in the morning. There is a concept behind the album, that of a sonic story about a scientist who dares to swing his logical fist at his experience of reality. After delving into the complex web of string theories and quantum physics, his sanity is held up by a thread when he realizes falling in love is faster than the speed of light. Like an actor who forgets his lines, the theatrical lights of a relationship freeze him in a dreamlike reality where he looks into the eyes of Amun-Ra, the chief deity of the Egyptian pantheon. Faith or Facts? The answers arise with the sun and his day is reborn. I think this is a nice story, especially the falling in love bit, and therein lies the key message of my review of this album. It is a happy album. It is an album which makes me smile when I listen to it, no bad thing at all.
In the publicity accompanying the release, there were references to van der Holst growing up listening to classic prog bands such as Yes, Crimson, and Genesis. Sunrise, although it has clear references to these influences, is not a derivative album and contains more than enough originality to make this website very content.
In fact, the most overtly referenced track is the opener, The Thoughts of Light, an instrumental which is essentially a reverential nod to later era King Crimson with crunching riffs overlaid by a dreamy lead guitar. The introduction of synths and a harder guitar riff produce a change in tone which is welcome to these ears, an almost psych passage before the opening theme reasserts itself. Those of you who like retro music will find a lot to enjoy in this track. It piques my interest.
My smiles began in earnest on Time. A pastoral start with kind percussion and swirling chords before the main track kicks in with riffs. When the vocals begin a minute in, the voice is pleasing and the track itself is a thoughtful one with the lyrics inviting one to take time out, an invitation gratefully accepted as the song develops with a pleasing commercial sensibility for what is a core love song with later Floydian undertones. The closing segment is particularly lovely with its dreamy keys and percussion fading to silence.
Pass Haunts Again is a great title. The piano notes which open are understated. The main track has the first appearance of a particularly lovely segment of our favourite instrument in prog, the flute. As the track expands, we get a pleasing classic rock feel to proceedings, strengthened by a nice guitar solo midway through which leads to an extended instrumental piece with swirling keys underscored by the prime rhythm below. The final passage has spoken word with a strong musical and lyrical dystopian feel, disappearing beneath the waves of despair, with the closing flute and noises particularly impressive to close.
Remember is three and a half minutes long. It is the biggest disappointment to me on the album, because I wish it were a lot longer. Slide guitar and keys evoke the spirit of Meddle to be sure as the track begins, but as it develops, we are treated to a musical soundscape which evokes the sunrise, and the simple words of I Remember are repeated in such a delicate fashion above the dreamy music as the track closes, I am left really wanting more.
It is followed by Let’s Laugh, an injunction I am sure we can all identify with and wish for. The opening is suitably bright with some lovely keys and up-tempo guitar chords. It is an interesting mix of classic progressive rock and pop to begin with before the mood turns somewhat harder and darker two and a half minutes in, with the return of the low piano notes presaging the return to the opening passage, so an interesting contrast. The lyrics talking about all life being holy, and all life all love with no choice is something Anderson watchers will appreciate, but the music itself is quite unique, and the closing seconds with the sole synth is very effective in its simplicity.
Between You and Me follows. After the bright intro, the track develops into a very strong bluesy number, with some more delicate vocals which segue into an upbeat passage which is a love song dissected with the voice of a logical scientist. The closing segment sees the blues nature of the opening passage reassert itself.
The Time Stands Still is next. A gorgeous flute is set against delicate notes and sounds from the keyboards to create a pastoral feel, this expanded upon by the vocals, especially when the female “time” voice kicks in. It is very clearly influenced by classic folk rock but stands as a modern song in its own right and is another track which disappoints me in its short length at only three minutes, because there was a lot more to say here.
The title track closes proceedings. The opening minute has a bright feel and when the vocals begin, the whole mood is very funky. Let the sun rise. Open our eyes and let all souls rise. The I love you passage is particularly beautiful, and all is performed with warmth before a heavier guitar riff is introduced to rock out. The track’s fundamental theme then reasserts itself. The closing minute’s passage changes the tempo, but not the mood, very effectively, and the music and vocals exhort us to turn on the sun to close a song which I think deserves quite a lot of radio airplay.
I like this album. There is a refreshing honesty and brightness to it, and I will be interested to see where this particular musical journey takes us. The album is available from https://www.constructionrecords.nl/The-One?ProductCategory=30212280&Lng=en
There is a classic epic in The One, and I believe when it is released, Sunrise will be seen as having signalled its eventual arrival.