Jon Young Thropugh Native Eyes

Inspired by the artwork of Roger Dean and the writings of Ver Stanley Alder, Jon Anderson developed an entire story around the idea of an interstellar exodus from Sunhillow, writing this album around the narrative (named for the spaceship's architect, Olias). The idea may seem overly ambitious, but Anderson fills the record with enough magical moments to delight fans of Yes' mystic side. The music is written and performed almost entirely by Anderson, who dubs vocals, plays guitar and harp, and adds percussion and the occasional synthesizer to flesh out his ideas so that at no point does the music lose its spellbinding effect for lack of sonic detail. Olias of Sunhillow is faithful to the spirit of Yes, though decidedly more airy than that band's visceral style - its closest comparison would be Fragile's "We Have Heaven" or Going for the One's "Wonderous Stories"…

The second album-length collaboration between Jon Anderson and Vangelis is almost perfect in its blending of elements; it's only when the pair tries to do some serious rocking on "Back to School" that things take a bit of a nosedive. Other than that, though, there are some classic cuts to be found on this record, including the breathtaking "I'll Find My Way Home," "State of Independence" (which became a popular tune to cover), and the brilliantly optimistic "Mayflower," which catapults the listener into a star-traveling future. Grand stuff.

“The Last Viking” is the 2020-monumental-piece of LEAVES’ EYES. The setting of the symphonic metal masterpiece couldn’t be more tremendous. With their cult-albums “Vinland Saga” (2005) and “King of Kings” (2015) they already turned Leif Erikssons discovery of America and the life of Norway’s first king into music. Now, LEAVES’ EYES bring the Viking Sagas to their bombastic finale.

The creative partnership of Anders Jormin and singer/violinist/violist Lena Willemark was first given exposure on ECM in 2004 with the album In Winds, In Light. In 2015 the bassist and the folk singer-violinist introduced a new project with koto player Karin Nakagawa on Trees of Light. Now, with the addition of drummer Jon Fält, Anders’s long time comrade in the Bobo Stenson Trio, the group has expanded its improvisational range. Many creative ideas are explored on Pasado en claro, emerging from its juxtaposition of poetry and music. Jormin casts his net wide bringing together texts from ancient Chinese and Japanese sources with contemporary Scandinavian poetry, also setting words by Mexican writer Octavio Paz and by Petrarch, lyric poet of Renaissance Italy. The resourceful Willemark sings this cross section of world verse and adds her own songs to the programme.

Anyone with a passing knowledge of the band Yes will be familiar with Anderson's high-pitched vocals and starry-eyed lyric sensibility. This disc features perhaps the most unabashed flowering of his cosmic muse. The acoustic instrumentation is set against a background of bird chirps and bug noises, and the songs generally concern love, magic and more love. While it is clear that Anderson means what he sings, anyone with an ounce of cynicism will occasionally laugh out loud. But if you are willing to swallow your pride, this disc offers a pleasant escape.