Nick Fletcher is a prolific artist. New album, released 6th October and available from https://www.nickfletcherguitarmusic.com/ The Mask of Sanity, is his fifth full LP in as many years, and let me say immediately, this output in no way diminishes quality. Indeed, I believe that this is his best to date, a masterpiece of instrumental music which has the depth and breadth to allow the listener to create his or her own mental space of interpretation.
The album is inspired by the writings of Swiss psychologist Carl Jung. He was the founder of the school of analytical psychology, and I think it is fair to say that, although I consider myself widely read, the closest I have come to considering Jung’s work is the Peter Gabriel track, Rhythm of the Heat from the fourth album, originally demoed as “Jung in Africa”. Researching Jung for this review and my interview with Nick for Progzilla Radio (www.progzilla.com available as a podcast from Saturday 4th October 18:01 UK time at https://progzilla.com/category/podcast/lazland) has been both fascinating and revealing, and I think I will explore the world of psychology further. Nick has undergone therapy, so this was the spark for his interest, whereas I have grappled with varying degrees of anxiety over the years, and understanding one’s inner self strikes me as being a topic which schoolchildren, and not merely university/adult learners, might benefit from considering and learning to help them in their life experience.
As ever, Nick has surrounded himself with some quality collaborators for this album. Caroline Bonnett on keys and, as ever, jointly handling the production duties; Jonathan Ihlenfeld Cuniado on bass, a contender for my “find of the year” alongside the stunning Roberto Porta on drums; the beautiful and talented Olga Dikajee Karpova lends her vocals to the project; and for BBT fans, the exceptional Clare Lindley on violin.
So, 44 minutes of music, with seven tracks to discuss. Let’s get to it.
As Above, So Below is the opener, and it is taken from The Hermetic Law of Correspondence, inspired by classical antiquity. Above are the heavens, and below is the earth. On this, we hear the first of the contributions from Clare Lindley, her work achingly beautiful, and this track, to me, has a distinctive spiritual element at the start, before we get a fascinating rock contrast, the polar opposites working together, and this track, incidentally, is the first one here which Nick introduces us to his brand new use of the guitar synth, something I feel has added a distinctive depth to the musical soundscapes he creates. Listeners will also note Roberto Porta’s work on the drums here immediately, such a talent.
Simulacrum is a representation or imitation of something but eventually becomes completely detached from reality – no prizes for anybody guessing several politicians fitting this. This is the first appearance on the album of Olga Dikajee Karpova, who sang on To Hear the Angels Sing on the previous album, A Longing for Home. Her voice on this is so distinctive. The whole thing takes me back many years, with a vivid, upbeat 60’s feel to proceedings. Further, there is a deep bassline, beautifully executed by Jonathan Ihlenfeld Cuniado. Fletcher’s guitar solo is stunning, the pace picking up incredibly towards the close.
Shadow Walker is from Jung’s concept of Shadow, the unconscious and darker aspects of one’s personality, and the walkers are those who delve deep into this aspect of themselves, and, I believe, finding out aspects of the personality they don’t particularly want to surface. There is a deep introspection to this piece, with Nick’s guitar work at the start so perfectly pitched, with some stunning fretwork throughout. The complex interaction between him and Lindley is masterful, and Caroline Bonnett’s Hammond work is exceptional.
The Shadow Magician is an archetype, a sub-personality within the psyche, and Gandalf and Yoda are good examples of the Magician Archetype. This is an epic track in five parts (let’s hope for more in the next album!). The opening passage is furious, reminiscent of Crimson in their industrial phase. Following a stunning guitar solo, up there with the best of Gilmour, I believe, the mystery of Olga returns, an ethereal delight, utterly throwing herself into this. The whole piece is a wonderful blend of the heavy, industrial, ethereal, pastoral, traditional classic rock, thoughtful Floydian as we move to the final passage, and Porta goes all in with this, a drum session which ranks with the finest. The collective is having a serious blast on it, Fletcher especially with some mind-boggling dexterity on the fret.
A Curious Case of Synchronicity is a wonderful title. Synchronicity itself is a word coined by Jung to describe seemingly coincidental, yet meaningful events in the external world that do not have an obvious cause. I just love hearing an acoustic guitar played well, and this is such a lovely piece of music, bucolic to start with before the violin re-enters the fray, and we turn into a jazz fusion delight, the fretwork staggeringly complex, the organ and drums providing the perfect backdrop. This is my favourite piece on a fine album, and another contender from Nick for this website’s “track of the year” award (I think I might decide to simply have a “Nick Fletcher” Award!).
The title track is the penultimate piece. Concealing and repressing who or what we truly are. There is more complex guitar synth work on this, adding a deep layer of sound to the guitar and percussion work, with the keyboards overlaid, before the bass guitar gets to work again, joining forces with the percussion to provide a masterclass in rhythm section work. Swirling, whirling, stunning, the real force inside wanting to explode outwards, revealing the self in the whole.
Closer is Song of Innocence, I believe referring to Jung’s Innocent Archetype, one who is child-like and impressionable. Piano, bass, percussion introduce Nick’s thoughtful lead, bright and questing. This is a collective effort, closing the album in a joyful manner. What a bassline to close with, the piano, the guitar, the drums, quite simply gorgeous. The sounds of the children to close put me in mind of Clarke & Kubrick’s 2001, with Star Child at the close representing a potential new beginning for the species, if we choose to take it.
The Mask of Sanity is another seriously impressive album, a masterpiece from a supreme musician. It is recommended in the highest possible terms.