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Colin Masson - Isle Of Eight

Artist:	Colin Masson
Title:	Isle Of Eight
Label:	Headline HDL 505
Length(s):	65 minutes
Year(s) of release:	2001
Month of review:	[06/2001]

Line up

Colin Masson - guitars, bass, recorders, keyboards, percussion, trombone and drum programming
Catchy Alexander - vocals on 1 and 2, additional keyboards on 3
Ryan Masson - noises on 3

Tracks

Total Eclipse

27.06

Summary

Three long tracks by a member of the Morrigan, recorded in 1998/1999 and now finally released.

The music

Two very long and a somewhat shorter track on this disc. The first and title track opens slowly and peacefully: flute, fragile and soothing, acoustic guitar strumming and then a waltz theme, very much in the electric guitar style of Mike Oldfield. Although there is not much more to it, the music evolves really well here, with a few low bass tones here, some soft male voices in the back, but also quite a bit of relaxed tones on the keyboard. Later on we get a bit more power with sharp, punctual guitar playing, but once in a while the folky influences of this man shine through. Not as often, though, as you might expect. The music continues to be in the vein of Mike Oldfield, and to me certainly not less in this than him. Around the seven minute mark (I guess I'll have to keep you up to date to where we are in this way), we come to classical guitar with folky flute. Around the ten minute mark we have more spacey guitar playing, still owing a bit to the vibrating sound of Mike Oldfield's guitar. The female vocals that follow next are almost reggae like, but do not strike me as odd at all here. The music continues to be melodic enough. Although...maybe it is a bit too melodic even with its playful synthy strings. Around 16 the music dies away a little to start all over with acoustic guitar. The music is a bit jig like, with hands clapping. Then we break into something more classical sounding, but still dance like. The church organ that follows later evolves into something clear and triumphant. Then the music does not really take it up yet, rather it tends to go on a little to end up first in some flutish stuff. Although the music has a triumphant ring, it could have been brought a bit more powerful I feel, the drums don't really yield the energy they should. We are almost at the end of this epic now, where the electric guitar again plays its Oldfieldian lead in a folky/celtic fashion. This is more or less how the song ends.

The second track is even longer. Total Eclipse opens like its predecessor with acoustic guitar. Quite nice melodies here. The song gets underway very slowly. It does not differ much in the methods and sounds used from the previous track, but the screaming, triumphant eruption followed by the eerie guitar comes as a big surprise. I am thinking a bit of Landmarq here for some reason. Back to moodiness now with fast repetitive dark acoustic guitar and low sounds throughout. The keyboards tinkle softly, a bit menacingly in the back. After its rather calm start, the waters that are stirred in this track are darker and deeper. The folkiness is still in here but in a much tenser form and I like it the better for it. The percussion also has a stronger drive. Still Oldfieldian in style, the music is more varied, is more emotionally laden, and on the whole takes the listener along for the whole length of it. You only have to listen to the build-up round the 17 minute mark and you know what I mean: here's some eerie soundtrack music with strong dark notes on the guitar. Again I am reminded of the recent epics on Landmarqs disc. The guitar gets to be quite heavy and freaky now. Quite dissonant. Slightly after the twenty minute mark the music seems to get back into a more folky, a lighter vein, but this is not the case: the guitar continues to drive you on remorselessly. The vocal part that finally comes, almost at the end, is quite similar to Jon Anderson's. It is only short and followed by some driving rhythm guitar, solo electric guitar and dark organ, with a few classical influences in the synth melodies. Truly a grand epic.

The third and final track opens with keyboards. The undercurrent of this opening is a bit in the style of Tangerine Dream, quite a bit of sequencing and a slow but sure build-up to something. The folkiness and merriness does return to this track, but with burpy bass beneath it. The song ends triumphantly again. Again a great track with strong build-up.

Conclusion

What is most striking perhaps about these songs is that notwithstanding their length they stand up. Even the opener, which is weaker/less likable than the second even longer track, does not tire. I simply like the darker tones of the second epic track much better and I also feel stronger emotion, a better drive. For Oldfield fans an album that should not be missed. Even or maybe especially if you find that Oldfield has not recently done anything worthwhile, sample and savour. I think you will not be disappointed.