JOHN HOLDEN - KINTSUGI
An eclectic mix of classical, progressive, jazz, and folk music with a rather stellar guest list brings great pleasure
Multi-Instrumentalist and composer John Holden has released four albums since 2018, but the 2022 release Kintsugi is my first proper introduction to his work.
The album title references the Japanese art of repairing broken pottery (the gold used to do this is plain on the rather nice album cover) but it can also be referenced to resilience, a theme which is present on the album. There is a host of some extremely special guest stars appearing, and there is a very good reason for this, as will become apparent during my review.
We begin with Achilles, perhaps the greatest of the mythical Greek heroes, and not a name you instantly associate with Japanese art, it must be said. It is the second longest track on the album at over 10 minutes long and is a mightily impressive beginning to the work. Vocals are provided by That Joe Payne, Mostly Autumn’s Henry Rogers is on drums, and keys are provided by Vikram Shankar, a very impressive American musician. The vocal chants of Payne are evocative and combined with some lush orchestration and a delicate piano, we have the perfect start to an epic piece, very classical in its sensibilities. When this initial passage ends, we have some flute and more orchestration before the main vocal kicks in, elegiacally addressing friends of noble birth. At some three minutes in, we get the first of more than a few impressive guitar bursts by Holden. All the ensuing passages are handled with beautiful delicacy, including the wonderfully understated vocals describing the movement towards the hero’s destiny. Just short of seven minutes in, the piece expands, and we get a fine guitar riff, somewhat distorted, middle eastern (he fought in Asia Minor) and military in its intent before peace once more reigns. Achilles is a mix of the pastoral and classical, interspersed with traditional progressive rock moments, and is a joy to listen to.
Ringing The Changes follows. Shankar again features on piano and there is the most delightful folk-infused vocal performance I have heard in quite some time, and regular readers of my reviews know that I have enjoyed some fine traditional folk music this year. The lyrics talk of a group of bell ringers, the type of upstanding citizens so unfairly maligned in “Middle England”. These vocal delights are brought to us by Sally Minnear. You can listen to this delightful track below.
The title track is up next. Peter Jones (who is everywhere now) brings us his usual high-quality vocals and talks about healing, and this in the context of bringing mindfulness to the art of fixing lovely pottery with love and gold. Holden brings us a wonderfully groovy bass underscore. Frank Van Essen, whose work will be deeply and welcomely familiar to Iona fans, brings us his trademark strings and Holden plays another deeply sensitive guitar solo. Let me say this about the track. If you are a fan, as I am, of the pastoral folk so wonderfully brought to us by Big Big Train, then you will be all over this track. It is not in any way derivative, though. It is of the same tradition and is a joy.
This is followed by Flying Train, an instrumental introduced by a German tannoy announcer, a not entirely coincidental moment, as this tells us of The Wuppertaler Schwebebahn, a wondrous creation (see at the video below). The orchestration, more of that lovely piano, some flute, swirling keys, more interesting basslines, and Rogers’ drums provide us with the music of an exciting journey, and this is a modern classical piece at its heart, telling a story in some detail especially with the thumping percussion ringing in our ears. Close your eyes, imagine you are strangely looking down at the ground in your seat, and enjoy the journey. Downside Up, Upside Down!
Xenos is another ostensibly Greek reference, and the word itself refers to strangers, but the track is very much grounded in the modern world. Iain Hornal of 10CC & ELO provides us with the vocals on this track, but these are preceded by more expansive orchestration followed by a nice sparse acoustic guitar reminiscent of early Oldfield. The lyrics talk to me of exasperation of our perpetual societal hatred of foreigners. Us Brits with our borders up and “fighting to survive” as opposed to the persecution and bureaucracy the poor wretches attempting to reach our shores face. This is an intelligent commentary on a subject which has for many years now been blighted by senseless jingoism and depressing political discourse. Musically, I like this piece, which has a light, airy jazz feel to it which somewhat belies the subject matter.
Against the Tide follows and has more of Jones’ vocals, and wonderful they are, too. Marvel again at the smooth undertones of Holden’s bass guitar and his jazzy riffs, all perfectly accompanied by Jones on his saxophone. This piece is more of a straightforward love song and is pleasant enough, reminding me very strongly of certain Mike & The Mechanics numbers (not meant unpleasantly, by the way). The smoky final minute is a simple joy to listen to.
Peggy’s Cove is next. Minnear returns on vocal duties, and this is such a beautiful Celtic-infused track, it ranks as one of my favourites of the year. Holden shows he is no slouch himself with the piano and his orchestration is perfect. The lyrics themselves talk of the eponymous lighthouse in Halifax, Nova Scotia and seems to be a commentary on its commercial appeal. This piece is one of those which simply fill you with the joy of life and in these dark and trying times, that is something to be very grateful for.
The final track, and longest on the album, is Building Heaven. It strides in at over eleven and a half minutes long. It is upon repeated listening something to be appreciated and regarded as rather unique. Dave Bainbridge shines (as he does on everything he puts his name to) on guitar, the vocals are lush, and there is a lovely flute by Jean Pageau. The track begins with a delicate acoustic guitar led by gorgeous orchestration and the first burst of electric guitar, deliberately understated. The strings sing Hallelujah as do the guitar and the flute. This is classical religious music brought to wondrous modern life, and the Minnear vocals when they are introduced tell the story of rising from destruction and gazing at the glory of a new creation and renewal, rebirth. My take on this is that this is not merely the story of Coventry Cathedral rising from the ashes of German bombs, although that might be the core, but one of personal love and faith as well. The mid-section instrumental is suitably dramatic in its depiction of chaos and the air raid sirens which are followed by Bainbridge making his guitar sing to us. The classical guitar is a joy and the music sings of determination to rise from the ashes, with a whole society pulling together as one would hope we still would, and maybe did of a fashion during Covid. The final couple of minutes are clearly inspired by classic seventies rock, especially Messrs Anderson & Howe, and it is bloody brilliant.
You can purchase this rather wonderful album, as I have, at https://johnholden.bandcamp.com/album/kintsugi It is a triumph and so intelligent and well performed. That impressive guest list is there for a reason. It is because they have such good material to guest on. You can catch more of John on his website at https://johnholdenmusic.com/