Construction Records from The Netherlands can do no wrong here in Lazland, and they return to whet our musical appetite with The One, who release their sophomore effort, Lighter Than Air.
While their 2023 debut, Sunrise, was largely the brainchild of producer and drummer Timothy van der Holst, the band has since grown into a collective of three English and three Dutch musicians. I played Juno on my radio show of 29th November, and it is fair to say that within both my and the wider prog community, this work is winning lots of friends. Pop along to www.constructionrecords.nl for more info.
We are informed that fans of Marillion, in particular, will like this one, and as a bona fide Marillion nutcase, I believe I am in a particularly good place to comment. So, we have eight pieces of music to digest. Let’s get to it.
We start off with the title track, with dark riffs overlaid by some nice synths. It was the first single release, and it is embedded below for you to enjoy. Immediately, I warm to the vocals of Max Gilkes – there is a nice fragility underpinning this voice. The way the whole track is completed will have admirers of classic rock & prog salivating, swirling keys from Ron Mozer which are definitely taken from the Kelly playbook, harmonies, solid rhythm section, and a good guitar solo from Edwin in ’t Veld. A strong start to proceedings.
Paint it Red follows, Nick Maguire providing a great bassline. There are some complex notes and signatures before halfway in, the track explodes into a joyful symphonic expression of noise, leading into a prominent synth delight. Quite a lot going on in this track.
The Wolf is up next. A mournful start, with vocals singing of seeking sanctuary from the wolf at the door against a piano before the synths provide a nice overlay, this then leading into a set of pulsing riffs and lead synth in a track which does take one back to those halcyon days of the mid-1980’s, self-examination and angst set against strong music, the lead guitar solo to the fore, with more sudden changes in direction.
Juno follows, and she was, of course, the wife of Jupiter. Together, they headed the Roman pantheon. The opening synths reminds one strongly of 2112, Frank “Fish” Ayres giving us the spoken introduction, a Hammond giving a mystical feel to the song, and I like the understated lead guitar work on this. You can picture supplicants filing into the temple in this track, with the dystopian notes accompanying the mystery of the sacrifice, incense and chants before the main guitar solo blows this away in a fit of ecstasy. The rhythm section on this is perfect in its quiet strength.
How a Shadow Feels is the second single from the album, and it is embedded below for you. It discusses war, not merely the act itself, but the legacy of its horror when the guns fall silent. There is some emotion in this, the vocal performance especially oozing despair. The flute solo is lovely, again taking one back, and, indeed, what follows is clearly influenced by early Genesis and the ilk, but it all sounds modern, so they avoid the easy trick of simply sounding like a classic tribute act. My favourite track on the album, thoughtful and well executed.
South of Cookham Wood refers, I believe, to the area near a prison in Kent, formerly a borstal (young offender’s institution). The flute and keys combine to provide a lovely pastoral air to proceedings. Think BBT and English Electric era, and you will be close. Indeed, this is a song which reminds one of that wonderful singer we tragically lost, David Longden. The lyrics talk to me of the weight of overdevelopment in the countryside, the guitar solo full of aching regret, and very nicely executed. A class progressive folk rock track.
The penultimate track is I’ll be Gone, the start atmospheric, van der Holst giving us a great drum pattern, with another pastoral edge showing positive versatility from this band. Going back to my opening comments regarding Marillion, yes, you can hear this and other classic influences, but there is more than enough modernity, originality, and range in The One to satisfy a reviewer who is, as a rule, not altogether keen on mere copy artists. Just short of four minutes in, the bucolic environment is blown away by a strong wind of riffs, the guitar showing dexterity, keys in a gale at the close.
We close with The Beautiful Lie, another strong vocal performance here against some haunting guitar notes, bass guitar setting a scene in a track which waxes and wanes in intensity, with the wax parts loud and proud, the guitar solos outstanding.
I would recommend that you go along to https://theonesunrise.bandcamp.com/album/lighter-than-air and take advantage of the Bandcamp policy of allowing you to listen before buying. This is a good album, and I look forward to more from them.