Moon Halo, the project of Riversea & Mostly Autumn alumni returns with their appropriately named third studio album, Trichotomy. You can look at my review of 2022’s Together Again by going to https://lazland.org/album-reviews-2022/new-portfolio-item-2

The lineup is the same. Marc Atkinson has one of the finest voices in modern music, whilst Iain Jennings is a mainstay on keys of modern rock’s finest, Mostly Autumn. David Clements plays bass and additional guitars, Alex Cromarty bashes the skins, and Martin Ledger is on guitar duties.

Before we discuss the twelve tracks running over 70 minutes, there is a fundamental difference between this and the two predecessor albums, in that this one took me several listens to fully appreciate it. That work brings its reward in the shape of an album which is deeply satisfying and touches the listener in that sweet spot, but you do need to persevere with this more than the first couple.

You can, like me, get the CD direct from the band at moonhalo.uk and their Bandcamp page has the digital copy option.

So, the division of a human into three parts, Mind, Body, and Spirit.

Siren Song has Atkinson glorying in the heart and soul of this project, their world he does not want to end, and neither do I as a huge admirer. I like the vinyl crackle introducing the delicate piano, very catchy as the ensemble join forces, Atkinson’s unique voice gently pulling you into the body of the work, the vocal harmonies powerfully understated, a beautiful song with commercial sensibilities which is astounding that modern mainstream radio does not pick up. There is something very wrong with them, but they leave us to let go and immerse ourselves in the heart and soul of pure quality, the short guitar burst bringing a raucous conclusion.

Empires Burning talks of the urgent need to get back to some peace and unity in the world, with wars by design. I referred in a recent radio show of mine that the happenings in America especially, but also across the western world, strike me as being reminiscent in history of the fall of the Roman Republic, the cessation of their brand of democracy and its replacement of autocracy, assaulted internally and externally, and I do believe that we are in danger of history repeating itself. The lyrics refer to the Doomsday Clock, now a minute to midnight, a short journey to apocalypse and the opening passage is suitably theatrical, pulsing in its urgency of the clock ticking down to our collapse, Atkinson capable of pulling the intellectual heartstrings vocally, the pace picking up as the need to turn back becomes more urgent, guitar and rhythm section pushing matters along as the clock ticks ever closer to the end.

Punchline could be interpreted as the close of a show or career, with all the laughter gone, the crowd long departed, or I suspect, a deeper personal event with the protagonist having acted like a clown and regretting it. It is a thoughtful song, the regret palpable, and another song dripping with the sort of art pop rock which in a time gone by would have bothered the charts, Jennings providing a quite beautiful melodic solo. There are a couple of cracking guitar bursts as well. It is embedded below.

The Things That I’ve Done simply asks to be saved from self, forgiveness for sins, a truly human narrative. As an example of how to fuse English pastoral themes and the blues, it is peerless and is also embedded below. You will enjoy particularly the most soulful guitar work this side of Mr Knopfler; all held together by some gentle soundscapes underpinned by the rhythm section and a voice which demands attention. A stunning piece of music which gets better with each listen.

Are You With Me is again that call for unity, for one love, for an end to this terrible cycle of violence we are living through. There is a post pop feel to this song, relentlessly catchy, and full of warm vibes. I like the harmonies in this mix and the guitar lead is reminiscent of the finest Americana.

Don’t Go Changing is a paeon to a blissful relationship. It opens with some interesting effects, and Jennings provides some real warmth in his synths, the bass and drums pushing the beat along, until Atkinson provides the most achingly gorgeous vocal in the lead words accompanied by a delicate guitar solo. This is an interesting mix of pop/rock and the type of progressive ballad that BJH excelled in back in the day. Indeed, Moon Halo can, in my opinion, be seen in many respects as that illustrious band’s natural successors. The sentiments in this track are ones I so identify with, the simple pleasure of lifelong love.

You, Me and Everybody asks whether we are rotten to the core, whether there is an answer to the eternal cycle of war, and for some hope and faith in the age to come, lyrically reminiscent of the old Age of Aquarius, some passages deeply mournful of the state we find ourselves in with the guitar especially providing the absolutely necessary angry counterpoint. A song which ought to be played to crooked ambassadors of rotten states at the next United Nations Plenary, the guitar solos striking in their emotive force.

Worlds Collided is wonderful lyrically, a boy dreaming of going to the stars, but as an older man with the world upon his shoulders, living out his days, but still with so much to give. There is a rich gospel feel to the vocal introduction before the main piece transforms into a rich sound of dreamy joy, reminding me of the finest positive psych pop songs with the life-affirming vibe of the late 1960’s, a time when it was possible to combine protest with a positive view that things might just get better. I think we have lost that in recent times, so to hear a track like this is particularly welcome. It is embedded below for you. Full of sound, sometimes guttural, and including what can only be a tribute to the wonderful Big Country as we move into the closing minute.

Nobody is Perfect is similar, but this time the child and the father and the wish to start all over again, family relationships comprising of flawed humans who, nevertheless, love each other and those inherent faults. The piano which starts us off is full of feeling, the sound of a master at work, combining beautifully sadly with the almost spoken words. This song must be a contender for my “track of the year” in this website’s annual awards, Atkinson when he raises his singing voice pulling at just about every emotional heartstring you possess, and worth the entrance price on its own, the band backing him with such understated support, allowing the words to act as the lead. Pure Moon Halo and a joy to listen to.

Truth is the song the BBC should play to every single party leader whilst locked in a studio and after, ask them to discuss truthfully their behaviour on pain of something nasty should they disseminate and continue to perpetuate the lies and myths they foist upon us not only daily now, but seemingly hourly. Modern day political interviews are perhaps the most depressing form of media there is. The track conveys the sense of this very well, the guitars and keys providing the overlay, with the beat beneath it a foot-tapping joy with some fine guitar and key solos.

Back to You is the penultimate song and is another of those songs Atkinson does so well, rooted in the altogether familiar modern world, the man far from home, on the road, earning his corn, but missing his love every minute of the trip and wanting for nothing else but to be back home with her. Last year, I was “granted” a work from home contract by my government employer. Prior to that, I spent days away and hated it. The vocal is as descriptive against the lonely piano as you would expect, and the collective working together again provide us with such a catchy piece of music. Groove along to the “song on the radio” embedded below, in parts reaching those emotional heights only a select musical few can take us to.

We close with The Masterplan, eight minutes of intelligent progressive music, but still ridiculously catchy, gospel and Leonard Cohen playing us with joy, psych tendencies, orchestral rock, symphonic keys combining with us wondering as curious people do whether all this is part of some cosmic, or divine, plan, whether there is a prophecy which will answer our questions as to where all this is heading, the guitar solo questing and urgent. Thinking man’s rock music, the vinyl crackling us away at the close.

Well, to conclude this review, what I will say is that I hope very much that the journey of Moon Halo is an ongoing one, something which will continue to delight lovers of class music for years to come. This album is very highly recommended. I would go as far as to say that Moon Halo are as essential to a collection as you are likely to get in the modern era.