Colin Masson may be a familiar name to many prog fans, but he is new to me. It seems he is an artist, designer, composer and musician, and probably possesses other talents too! The Visitor is his most recent album released a few months ago, and it is a fabulously engaging work. On this album, he constructs four long-format pieces, two of them around the twenty minute mark, which are instrumental and multi layered, and which gradually evolve and reveal different moods and atmospheres as they journey onward. It’s a journey well worth taking. There is much satisfaction to be had as these pieces unfold, sounds appearing, disappearing, reappearing, themes developing and mutating, and all in a natural and organic way.
Opening track Helvetia is probably my favourite. It starts with a warm and reassuring sequencer, all very dreamy and tangerine, but tasteful guitar notes soon overlay this spacey piece as it slowly develops, double tracked and echoing notes cascading from the fretboard. Mike Oldfield can be imagined nodding approval as the layers of guitar and the pace build beautifully. The piece ebbs and flows, with field recordings or the like acting as palette cleansers between courses before the rebuild begins. It is an optimistic composition, and one imagines virgin mountain scenery glistening in its purity, the wonders of the natural world laid out before the listener. It is a wonderful piece of work, and an excellent way of beginning this journey.
What follows couldn’t be more different. The Nature of Evil as the title suggests is a far darker track, heavy foreboding guitar riffing slowly but relentlessly. It’s the sound of something wicked coming this way, and it won’t be stopped. There is a brief pause for a snatch of audio from a Nazi rally in the 1930s, and later an election rally with Trump trying to get the Christian vote out, promising that they won’t need to bother again in four years! The parallels are clear, and the insistent riff lumbers on, crushing all opposition in its path. Eventually the slow march keels over under its own weight, and the nightmare recedes.
Bones of the Mountain brings respite in the form of atmospheric guitar and keyboard textures setting a mysterious scene before settling into a gentle acoustic guitar pattern with tasteful embellishment ushering in a searching theme with new layers added gradually. The guitar becomes more assertive as the theme develops, and as this is the other longer piece, it is allowed to unfold at its own pace over time. Although it is unhurried, it doesn’t remain static for long, and new variations around the central idea pop up at regular intervals. Humorous musical asides show that Masson doesn’t take himself too seriously, yet there are grandiose themes at work, and frivolity is only momentary. Symphonic keyboards herald a new section around two thirds of the way through, and when the guitars return, that Oldfield influence is apparent again. There’s no copying here though, there’s just something about the playing style and guitar tone which evokes shades of Hergest Ridge from time to time within a wholly original soundscape. It’s actually inspired by the landscape of Dartmoor, and conjures the wild and rugged feel of the area so well. Masson excels at these long form pieces, with immaculate pacing, integration of the different sections, fitting climaxes, and gentle deconstructions.
The final track, Spered Hollvedel, rang a bell, and is a traditional tune famously done by Alan Stivell in the 1970s. Colin Masson’s arrangement is delightful, with just the right Celtic tone and authenticity. It makes for a perfect unwinding end to the album, complementing earlier melodies and thematic arcs in a most satisfying way. In fact, overall, this has been a wonderful introduction to a great talent, and if, like me, you are unfamiliar with the work of Colin Masson, this would be a good place to start. I look forward to discovering more from this intriguing artist.
TRACK LISTING
01. Helvetia (21:13)
02. The Nature Of Evil (10:21)
03. Bones Of The Mountain (19:53)
04. Spered Hollvedel (8:25)
Total Time – 59:52
MUSICIANS
Colin Masson – Guitar, Bass, Keyboards, Programming
~ With:
Ryan Masson – as ‘Labyrinth’ (1)
Cathy Alexander – as ‘Berys Braveheart’ (1), Whistle, Tenor Recorder (4)
ADDITIONAL INFO
Record Label: Independent
Country of Origin: UK
Date of Release: 24th October 2024
