As is often the case with many guitarists they can impress with the clever use of gimmicks like fuzz boxes and tweaks to their instruments that make fun sounds. But, once the song is over have had no impact on the listener’s heart or mind. Or they can play lots of notes in a minute as they try and show off but ask them to play something requiring true digital dexterity and they would probably sound like rank amateurs.
Nick Fletcher could never be accused of being confined by such limitations. Be it the soul lifting interpretations of classical compositions or his own work he can, and does, impress while delivering music that can be listened to time and time again without any ennui getting close to being felt. And, as if to prove my point he has released yet another gem of an album that takes the listener on a fascinating journey. A journey that, as it is inspired by the works of Carl Jung, has depth that leaves many other musicians simply skimming over the surface.
As Above, So Below with a haunting violin start lulled me into a false sense of security. The title can allude to the philosophy that there is a connection between a higher and lower realm of being, so it ensured that if I was expecting a gentle journey through some dark wood in the mind then that thought was soon shattered as Roberto Porta’s, almost mad, drumming shattered any peace and led the track into a great rock tune where Nick is able to show off some truly deft guitarmanship.
Any preconceptions that I might have had for this album’s direction of travel were destroyed by Simulacrum. Although the title can mean imitation of a person or thing this is no cheap homage to anyone else. Yes, there were tinges of Brand X with a soupcon of George Benson and Charlie Byrd, but this is more than the sum of its parts. Jazz, rock and prog coming together to make a delicious fusion that left me wanting more. Likewise Shadow Walker is another jazz rock track which starts off with an almost imperceptible subtle North African feel that gently diverts into a joyful tune making me want to dance, but I knew that I’d either put my back out or, look like I was having a fit if I tried to keep up with the beat.
I once saw Nick doing a sound check with the John Hackett Band and, although when I mentioned it to him afterwards, he was unaware that he’d inadvertently started playing like Ritchie Blackmore, and listening to The Shadow Magician, a track that wouldn’t be amiss on a Rainbow album. Drums, bass, guitar and vocals coming together to rock with the best of them.
A Curious Case of Synchronicity, as with all the title tracks having deeper meanings, you can accept a certain duality, choosing to just listen to the music and delight in it for its enjoyment value. Or you can furrow your brow and try and get into the mind of Nick when he composed it and attempt to see where the Jungian synchronicity reference relates to the tune. On the first listen I just enjoyed the music and on the second listen I tried to look beyond that but soon gave that up taking it too seriously as it stopped me from fully enjoying it. Therefore I reverted to just appreciating what was being delivered to me… simply great music.
The Mask of Sanity. Being a bit of a nerd I have read the book of the same title (by Cleckley, not Jung) so I had braced myself for the unexpected and Nick didn’t disappoint. Starting off with a fast but dare I say safe, beat it soon ran off in an almost insane direction. It stays on the safe side of pretentious incoherent jazz improvisation, but it didn’t allow me to get complacent when listening to it and it ensured that there was no danger of being bored. After being taken on an unexpected hike by the previous tracks, Song of Innocence is the final part of the journey. More casual with the end in sight and no desire to end the trip too soon. It might have been just shy of six minutes long but it left me wanting to take a detour so it could last longer. Gentle jazz rock that left me yearning to repeat the whole album straight away.
In my collection there are quite a few albums featuring Nick Fletcher. His work is always superlative, and he is not afraid to be himself, or challenge the listener to appreciate his virtuosity in whatever genre he tackles – The Mask of Sanity album is no different. Some might be deterred by the word ‘Jazz’ for fear of being assailed by some cacophony of instruments determined to induce headaches but, in my mind, this is arguably Nick Fletcher’s best solo album, so far. If you already have his albums, well done and you now have the chance to add a great collection of music to that what you already have. However, if you have yet to explore Nick’s solo work, this is a great place to start.
Finally, please note that I deliberately avoided any puns on the name ‘Jung’. After all, an album this good deserves better than that.
TRACK LISTING
01. As Above, So Below (4:58)
02. Simulacrum (6:10)
03. Shadow Walker (6:06)
04. The Shadow Magician Parts 1-5 (10:33)
05. A Curious Case of Synchronicity (5:31)
06. The Mask of Sanity (4:44)
07. Song of Innocence (5:57)
Total Time 43:56
MUSICIANS
Nick Fletcher – Guitars, Guitar Synth, Bass (4)
~ With:
Caroline Bonnett – Keyboards, Soundscapes
Jonathon Ihlenfeld Cuñado – Bass (1-3 & 5-7)
Roberto Porta – Drums
Clare Lidley – Violin (1,3 & 5)
Olga ‘Dikajee’ Karpova (2-4)
ADDITIONAL INFO
Record Label: Rough Draft Audio
Country of Origin: UK
Date of Release: 6th October 2025
