HAKEN

Today I am digging into UK prog metal band Haken's seventh studio album, 2023's "Fauna." I reviewed their third album, "The Mountain," which was ranked at #54 on Prog Magazine's list of the 100 Greatest Prog Albums of all time (I'll link to that review in the comments). Haken (pronounced Hay-ken, not Hack-en) was formed in 2007 by school friends Richard Henshall (multi-instrumentalist), Matthew Marshall (guitarist), and Ross Jennings (initially to be a guitarist, but when the others eclipsed his skills, he was brought back to be the lead vocalist). The idea began in 2004, but they wanted to hone their musical and songwriting skills before bringing in others to complete the band. Keyboardist Peter Jones, drummer Raymond Hearne, guitarist Charlie Griffiths, and bassist Thomas MacLean would be brought in to round out the original lineup. Marshall & Jones would depart the band in 2008 to pursue other careers. Keyboardist Diego Tejeida and guitarist Charlie Griffiths would be brought in to replace them, but Tejeida would depart in late 2021 and Jones would return soon after on keys. MacLean departed in 2013 and was replaced by Connor Green. This means that the line up on this album is:

Ross Jennings ? vocals Richard Henshall ? guitars Charlie Griffiths ? guitars Peter Jones ? keyboards Conner Green ? bass Raymond Hearne ? drums

The theme of this album is based on people having Spirit Animals, aka Totem Animals. Jennings took inspiration from author Philip K. Dick in "Do robots dream of electric sheep," which is the basis for the 1982 movie "Blade Runner."

Without further ado, let's jump in!

Track 1 - Taurus

This track begins with what I believe to be a guitar with an unusual effect (but it could be keyboards). The band kicks in with big power chords not long after. I believe we are in 6-4. The vocals begin with unusual accompaniment. Just after 1 minute, the rhythm smooths out and it reminds me of a big Porcupine Tree (PT) chorus, but only briefly. A choppy rhythm backs up the next verse. The big chorus returns but lasts longer this time. This song seems heavier than I remember songs on "The Mountain," being, but thankfully, Haken have never been known to resort to the "death metal growl," aka "Cookie Monster," sound. Jennings' voice is clear here. The music gets very heavy for a moment afterward. Raymond Hearne's drumming really stands out to me. There is a mellow segment at around 3:45. When it kicks back in at around 4 minutes there are some countermelodies happening in the vocals, with Jennings singing long sustained notes over the choppy rhythm. A few sound effects close out the track. Pretty good track, but it didn't blow me away.

Track 2- Nightingale

This one starts with a slightly distorted electric piano, to be joined by big, sustained power chords. At around 40 seconds, though, almost all instrumentation drops out except some subtle staccato bass, drums & keys backing Jennings' vocals. This part reminds me of PT as well, but it's a similarity, not a carbon copy. I also pick up a bit of Gentle Giant influence as the verse progresses, with shifting meters and jazzy chords. Nice bass fill at 57 seconds. I love the big, sustained chorus. I love the vocal harmonies at just before 2 minutes that lead into the second verse. I like the guitar countermelody this time around. Then the second half of the verse gets heavier. I am really enjoying this track. At around 3:15, the power chords sound like they are tuned down or employ a 7-string guitar, they seem deep and bassy. This instrumental break is very complex. The break leads back to another big, sustained part. At 5:05, there is sudden silence. Mellow sounds begin to gradually emerge after a few seconds. At around 6 minutes, they wake us back up with sudden heavy sounds. The rhythm gets more complex as we proceed. Great track! Some heaviness, but nothing over the top. I truly enjoyed that.

Track 3 - The Alphabet of Me

A syncopated keyboard riff initiates this song. Jennings joins on vocals. Guitars and a cool drum part add in, accenting the funky syncopation even more. Starting at 1:04, Jennings sings a rapid fire set of syllables with an almost hip-hop vibe to it. This part reminds me of 21 Pilots a bit. At 1:40, the band opens back up with big, sustained power chords. I love the turnaround licks that begin happening at 1:45. There is a crazy-syncopated instrumental bridge. Vocals that sound like they have a reverse effect on them enter. Jennings hits some nice high notes just before the 4-minute mark. We get a reggae feel around 4:24. There is also a bit of trumpet, provided by Miguel Gorodi. Another very complex song, even at only 5 and a half minutes (short by prog standards). I like it!

Track 4 - Sempiternal Beings

Sempiternal means eternal and unchanging, for those, like me, who didn't know until I looked it up. A complex syncopated (adjectives that keep seeming to apply to Haken on this album). drumbeat commences this song. Jennings joins in with some subtle instruments joining. The drums drop out after the 1-minute point with bass and arpeggiated guitars remaining. But at 1:25 the band explodes after Jennings' voice slides up to a brilliant high note. The next verse is a bit tighter than the first one. A big chorus hits at 2:15 or so. There is a rapid-fire instrumental break just before 3 minutes that caught my ear! Then after a brief silence, the band and vocals return with a tight groove underneath. The rapid-fire part returns, then there is a heavy chorus. A quiet part takes over at around 5 minutes. I feel more PT influence here. At just after 6 minutes there is a guitar solo that reminds me of Steve Vai. I believe that this is the first one on the album. Quiet follows again, before another heavy section starts. A few guitar riffs close the song out. Very cool track!

Track 5 - Beneath the White Rainbow.

This one jumps right in with the instruments playing a heavy riff in an odd meter? possibly 7-8. The guitars sustain a chord at around 20 seconds. This calms things down going into the first verse which has a slower tempo, but also has a bit of dissonance underneath the main instrumental parts. The instruments kick in heavily again after that verse. The tempo picks back up to a running pace around 1:30. Another heavy instrumental break kicks in at around 2:40. There is a cool bit at just before 3 minutes when the band plays a very tight metal riff to be echoed by a piano playing low- register notes and subtle drums. Complex syncopation is Haken's game, and they play it well here. By around 3:40 there is an ascending riff with a beautiful piano solo over the top. The ascending riff continues with rhythmic variations as the vocals return. There is a lot happening at around 4:25! Effects are used on the vocals around 4:40. If Gentle Giant were a metal band, I think it might be something like this. I love it, but there is a lot to wrap my head around here. Things smooth out around 5:45 with a nice vocal melody. The instrumental rhythms below the vocals begin to build and there are some nice vocal harmony "aahhhs," just after 6 minutes. A heavy complex riff closes the song out. Let me catch my breath after that one! Amazing track!

Track 6 - Island in the Clouds

Synth bass & drums start this one, joined quickly by vocals. It reminds me of a sped up "Body Language," by Queen. Guitars double the riff with effects in the background. This one is almost floaty (reflecting the title), until?. BANG! At 1:06 there is a heavy riff. Just after though, we have a funky riff with (more) cowbell! Haken never lets its listeners get bored! A tight syncopated riff supports the vocals. At around 2 minutes the sound opens up a bit more with sustained chords. There are some very high harmony vocals above the melody. There are unaccompanied synth sounds after that (before 2:40). A drumbeat and vocals with effects joins in thereafter. By 3:30, the best way I can describe it is, it's like "Discipline" era King Crimson with Alice in Chains style harmonies on the top. Strange, I know, but they make it work. The sound gets big around 3:50 with huge, sustained chords on the guitars and possibly a mellotron. By just after 4:20, it all drops out to be taken over by mellow sounds. But the heaviness quickly returns with another chorus. The song ends with heavy riffage that reminds me of modern instrumental prog-metal bands such as Periphery or Polyphia. What a ride that was!

Track 7 - Lovebite

This one starts with a machine-gun style rhythm by the band right from the get-go. But suddenly it stops for the vocals to begin with a softer bass and drum accompaniment. This one almost has an 80's flavor to it after the initial opening; some of the sounds that enter almost feel like "Der Komisar," from After the Fire (which?quick aside?had been a prog band in the late 70s before putting that song out, but I digress, back to Haken?) The heaviness returns for the chorus. The next verse is even more 80s pop-rock sounding, almost like Hall & Oates with odd meters (I didn't see that coming!). Then the chorus returns to modern prog-metal. The bridge is back to the 80s! It's like two people battling over the car radio switching between a modern metal and an 80s station. There is a guitar solo over the heavy riffs. The guitar solos are great, but few and far between on this album; I'd like to hear more. Wow! That one had a split personality, but I liked it!

Track 8 - Elephants Never Forget

This is the longest track on the album at just over 11 minutes. This one reminds me of Queen at the beginning. It has a very grand opening, starting with some simple repeated staccato piano chords, but with big flourishes from the rest of the band and a Brian May style guitar solo. I believe I hear more Mellotron? always a good thing! Cool synth tones after one minute. Quirky mixed meters take over in a way that reminds me again of Discipline era King Crimson; very Adrian Belew style vocals. The chorus is in odd meters as well. This also reminds me a bit of "A Little Nonsense," by Echolyn in the verses. The next chorus becomes more sinister sounding. Around 3 minutes in, there are some hints of modern metal. There is an instrumental break featuring lead guitar around 3:30. The rhythm changes after that, and then again after THAT. It gets a bit funky yet quieter around 4:30. The funkiness continues, but with heavier guitars. A mind- twisting Dream Theater style riff follows next as we cross the halfway point of the epic. A riff with a bit of a shuffle underneath is up next. Then we have a short guitar solo. Another vocal section follows, bookended with another short guitar solo. At around the 7-minute mark it reminds me of a metal version of Genesis' "Back in NYC." The Queen feel briefly returns around 8:00. Then it gets heavier again, before it goes Queen style again. There is a slower section, but there is a lot going on in it. I believe this is alternating meters of 6 and 7. It ends with some sounds like a piano from an old movie as one can hear the sound of an old movie projector. A great prog epic indeed.

Track 9 - Eyes of Ebony

This starts with a choppy rhythm, with vocals joining quickly. The beat changes at around 1 minute. This has been a quiet song thus far. The original beat returns at around 1:30. It kicks into higher gear just before 2 minutes, with heavier guitars. Even heavier by 2:30. Then it drops down to just bass, joined first by drums and a little guitar here and there. Lots of interesting rhythms in this instrumental break. Vocals return just before 4 minutes. Things are building up around 5:20, and a louder instrumental break follows. By 5:45 things drop back down to some quieter guitar parts. Vocals rejoin and various backing vocals and instruments gradually join in. This is a truly engaging song to listen to. It sort of just ends though, feeling unresolved.

OVERALL IMPRESSIONS:

This is a very creative and captivating album, with songs that are full of unexpected turns. Now while I can identify influences from time to time, they don't really sound like anyone else in an overall sense. The musicianship is top notch, and Jennings is a very talented singer with lots of range?not just span of notes, but emotional and stylistic range. They do get heavy sometimes, but never in a speed metal/death metal sort of way. My only real issues are with the first track, which I didn't hate, but it never seemed to quite grab me either, and the way the last track just kind of ends. So, those minor quibbles aside, I'll give "Fauna," a 4.5 out of 5 stars!

Clicked 5, but really a 4.5...4 is too low.

I am a level 0 on this album going in, but I have heard other Haken tracks and have quite enjoyed them. This is the only album of theirs on the countdown. But remember that the countdown is from 2015, so they might have more if it were done now.

Track 1 - The Path

We begin with a slow synth fade-in that gives way to piano chords. Slow tempo, very peaceful. Soft, easy, high- pitched male vocals join. Ross Jennings is sounding great on the vocals. Some subtle backing "oohs" join it.

Track 2 - Atlas Stone

This one also features piano in the intro, but it is faster and arpeggiated. The band joins in at a fast tempo with shifting meter. Gothic style backing vocals accompany the next riff. The lead vocals take over with the first verse on top of a quick riff. Then we get a different vibe for the chorus. The instrumental break that follows had a Gentle Giant feel to it. An excellent guitar solo follows. This is outstanding prog. They are often referred to as prog-metal. While there are distorted guitars, so far it isn't any heavier than a typical Spock's Beard song. Lots of time changes throughout. Excellent playing all around. Wow, a big "gothic" sound near the end of the track. Superb!

Track 3 - Cockroach King

Yeah, after a short intro, there are vocals that are VERY inspired by Gentle Giant. This could almost be a GG track. There is a jazzy instrumental break at around 3:00, featuring piano. Lots of interesting changes in time and feel. This is so cool! I can't begin to describe everything that is happening here. We close with the GG style vocals again. WOW! What a ride. With everything that is happening here, it still manages to stay cohesive as a song. Well-done Haken.

Track 4 - In Memoriam

Another track that has a piano intro. There are 2 members listed as playing Keyboards, but I am guessing that the primary one is Diego Tejeida, as the other (Richard Henshall) is listed as a guitarist first, keyboardist 2nd. Whichever one it is an accomplished pianist. OK, this one is slightly more metallic after the piano intro, but far from extreme. It doesn't stay in the metal vibe for long, either, at any given time in the song. It's prog first, with a touch of metal here & there. There are some cool sounds in the instrumental break around 2:30. Good track. Not as good as the previous 2, but still very strong.

Track 5 - Because It's There

This one begins with a distant sounding vocal solo. It builds slightly into a tight-harmonied a cappella choral sound. Then clean electric guitar & bass joins in before the rhythm section joins in. There are some drum sounds that don't seem to quite fit in the verse. It's almost hip-hop-like. The chorus is quite nice though with outstanding harmonies in the vocals. The second chorus is even better as there are 2 overlapping vocal tunes, both in harmony. Good track, I just would have left out those out of place drumbeats in the first verse.

Track 6 - Falling Back to Earth

This one starts out a bit heavier with an odd-meter riff. This is the longest track on the album at just under 12 minutes. Things quickly quiet down in the first verse. There is a louder section then the second verse is very jazzy. Great vocals from Jennings. Once again, a lot is happening here. Some very quick tempos, and lots of changes. Excellent transition around 2:25. At just before 3:00 there is a tapped guitar sound that is almost like Tony Levin playing Chapman Stick. Some fusion-y instrumental breaks follow. Fantastic guitar solo at around 4 minutes. This band is amazing. Things really mellow out after the 6-minute mark. Nice dynamic shift at around 8:45. Things are slowly building in a wonderful way. Then everything drops except a mellotron sounding keyboard and some gentle guitar at around 10:30. But then the band kicks back in at around 10:45. Great vocals again from Jennings and the band for the closing section. Then at the tail end there is a brief bit of metal-riffing. Superb track!

Track 7 - As Death Embraces

Back to piano and gentle vocals to kick this one off. This one is only 3:13. It seems to be a mellow interlude before two longer tracks.

Track 8 - Pareidolia

A mellow riff is quickly overtaken by a heavier sound. But only briefly. There is a cool middle eastern style riff in the verse, with what sounds almost like tabla drums. We are in 7-8 here. The chorus is a bit heavier. Cool riffage at around 2 minutes. The drumming is fantastic on this one in particular (Raymond Hearne). The middle eastern flavor continues at around 3:45 with excellent, precise, staccato playing. Holy crap, this is incredibly complex, in the best possible way. The gothic-style backing vocals return following that. Then things chill back down with a quieter section with creative vocal parts. We pick back up at around the 7-minute mark. There is a bit more "metal" in this track, but still not extreme. If you like PT's Blackest Eyes, you'll have no issue with this. The middle eastern style riff comes back again at around 8:30. Things get quiet again with about a minute remaining as mellow keyboards (almost) close things out. There are some gentle sound effects leading to the closing song. Amazing track!

Track 9 - Somebody

Nice clean electric guitar arpeggiations start us off with Jennings in a mellow voice. The other instruments begin to slowly build before starting a steadier rhythm at around 1:50. This one seems to be a slow-burn kind of song. It has stayed pretty mellow so far, but I am anticipating that it will open up eventually. Things get even quieter at around the halfway point of the song. We start going into 7-8 following that with GG style singing again. We start building intensity again around 6:25. Even more so by 7:20. There is a horn section joining in, but in more of a classical way, rather than being jazzy or soul-style. But then we quiet back down at the ending. It never exploded as I was expecting. It was a bit of a restrained ending to this excellent album.

OVERALL IMPRESSIONS:

What a great album! Definitely deserving of a spot on this list. There is a bit of metal playing here and there, but again, it never got too heavy?no cookie-monster growling, and it was never for an entire song. My only issues are with the weird drums on track 5, and that the final track didn't open up as much as I would have liked. But the level of musical talent is up there in the ballpark of any great prog band you care to name. The vocals are incredible, despite wearing the Gentle Giant influences on their sleeves. Top-notch prog album. 4.5 out of 5 stars.

Clicking 4, but really 4.5!

The number of reviews I see today on this site, as I write this analysis, makes me reflect on how "Fauna" deserves respect and attention. We clearly know that it's not easy to release a heavy and intense album with progressive characteristics in the year 2023, and the fact that we have only 12 reviews here reflects this challenge.

"Fauna" displays important attributes beyond just technical skill. The courage and presence of eclectic elements made me listen to this album twice in a row, appreciating practically all the songs and noticing how well-structured, well- crafted, and faithful to the band's origins the album is. You will be immersed in coherent musical complexity, devoid of trends and with melodies pleasing to the ears.

I'd like to highlight "Beneath the White Rainbow," which deserves a special place in my collection of "special" progressive songs. This track elevated my sonic experience to interesting levels, standing out for its composition and execution.

Without giving too many spoilers, as I like to do in my reviews, I believe this album is a must-listen for any prog fan, easily deserving 4 stars, without much thought or doubt. For me, 4 stars represent a mandatory listen.

Haken deserves congratulations for this incredible release, maintaining their origins, strength, and personality.

"Fauna" by Haken is a fairly successful album by the British sextet, which requires a large number of listens for digestion and internalization - but unfortunately does not meet the high standards of the golden years (2010-2013).

Stylistically, it is too eclectic, creating an arbitrary sequence of unrelated sections. The concept of the animal kingdom does not hold water, because it doesn't contain enough drama, continuity or relation to our reality. The music is undeniably well produced, virtuosic and even witty, but it is difficult to enjoy it emotionally, because of an excess of quick transitions and illogical musical decisions. It seems that Haken cannot allow themselves to stay put for 10 seconds. They just have to constantly re-transform themselves, even at the expense of "enjoying the moment".

In many ways, 'Fauna' represents a (temporary, hopefully) indecisiveness on the part of one of the most important progressive bands in the world today, whose best days are currently behind it. "The Mountain" is still their greatest achievement, no competition.

Favorite track: "Nightingale" (Classic Haken, by all means). Disappointment: "Sempiternal Beings" (A missed shot).

A true masterpiece that captivated me from the first chord to the last chord. It's incredible how the band has the ability to perform such complex songs with seemingly effortless ease, leaving me completely immersed in their sound. Each track is like an exciting journey that has the ability, through a varied exploration of styles, to keep me constantly intrigued and eager to discover what will come next.

It's wonderful how the band doesn't limit themselves to progressive metal; instead, they also embrace influences from classic progressive rock bands, which adds an extra layer of depth to their music. This broad sonic palette creates a truly enriching listening experience, with the band expanding their musical horizons excitingly and allowing new details to be discovered with each listen.

It's fascinating how they manage to transition between heavier parts, with powerful guitar riffs and pulsating rhythms, and softer, more ethereal moments, where the vocals and piano lines stand out with captivating beauty and intensity. It's as if the album is painting a musical landscape rich in contrasts, where each color and texture complement each other to create a truly unique sonic masterpiece. It's this ability to blend different styles and influences in such an organic and cohesive way that makes the songs of "The Mountain" so engaging and exciting to listen to. Each track is a musical journey that takes us down unexpected paths, surprising us at every turn and leaving us eager for more.

"The Mountain" is a conceptual album that delves into the depths of the human journey, using the metaphor of climbing a mountain to explore the highs and lows of life. Each track of this masterful album represents a stage in this emotional and spiritual journey, from the initial preparations to the challenges faced during the climb, and finally, the realization at the top of the mountain.

The lyrics explore themes of self-awareness, overcoming obstacles, the search for meaning, and transcendence, sounding like an invitation to reflect on our own personal journeys while inspiring us to keep moving forward, even when the paths seem steep and challenging. Throughout the album, we are taken on an emotional roller coaster, as we identify with the highs and lows of the journey depicted in the lyrics. Each track is a crucial piece of the puzzle, contributing to a cohesive narrative that takes us on both an emotional and musical journey.

It is also worth noting that while each track can be appreciated individually for its own beauty and depth, it is when we listen to them together, in sequence, that the true magic of the album is revealed. It is as if we are being guided by an experienced guide, who skillfully leads us through each twist and turn until we reach the glorious victory at the top of the mountain.

"The Path" is the opening track of the album. Although it is a short track, it plays a crucial role in slowly introducing the listener to the universe of the album. The song is filled with atmospheric elements that create a sense of immersion and anticipation, preparing us for the emotional and spiritual journey to come. It is a perfect introduction that gently guides us to the start of a musical and emotional journey, preparing us for the highs and lows ahead.

"Atlas Stone" begins with a great piano passage that connects cohesively and fluidly with the previous track, highlighting the band's ability to create a continuous musical narrative. There is a contagious groove amid an impressive display of the band's talent and versatility. The vocals are powerful and the rhythm section is robust, while keyboards and guitar brilliantly fill their spaces. Lyrically, there is a reflection of an intense internal struggle, facing both physical and emotional challenges.

"Cockroach King" starts with a heavy beat that quickly evolves into an impressive vocal wall, reminiscent of the complexity and harmony of Gentle Giant, which is already an indicator of the high quality the band delivers. Developing like a well-crafted patchwork quilt, its sound is powerful and reaffirms the band's skill in blending distinct genres such as metal and jazz fusion, delivering a result that is at the same time sensational, diverse, and insane. Lyrically, the song reflects on the dangers of seeking wealth and success in an illusory way and the importance of seeing beyond deceptive promises.

"In Memoriam" certainly stands out as one of the heaviest and most intense moments of the album, featuring powerful riffs, a striking rhythm section, and an atmosphere charged with energy. For its duration, it delivers a lot of entertainment, and it is this ability to convey so much in such a short time that makes it such a memorable and impactful track. The song addresses universal themes about the nature of human existence and the challenges of finding peace and redemption before death.

"Because It's There" starts with a beautiful choir, characterized by a lightness that unfolds smoothly as it develops. The vocal layers are especially notable, weaving rich and engaging harmonies, while the arrangements are brilliant, with each instrument contributing to the creation of a beautiful sonic landscape. The lyrics explore a deep reflection on the journey of life, highlighting the importance of perseverance, resilience, and the search for meaning, even in the face of adversity and challenges.

"Falling Back to Earth" is the longest track on the album, divided into two parts. The first part is incredibly energetic and powerful, featuring heavy riffs that create an intense and captivating atmosphere. The combination of robust guitar lines and vigorous rhythms establishes a solid and exciting foundation, creating a vibrant and engaging sonic universe. Meanwhile, the jazz fusion incursions in this heavy music terrain not only add a layer of complexity and sophistication to the track but also highlight the musicians' versatility and creativity. In its second part, the song takes on a completely different character, enveloping itself in a more atmospheric and obscure aura. The vocals perfectly blend with the dreamy melody, creating a mood where emotions are deeply explored and felt. As the measures advance, we are taken on a flow of feelings that range from serene contemplation to darker introspection. There is still room for a return to the heavier theme of the first part, but now infused with an atmospheric air, where rhythmic intensity and emotional depth meet in perfect sync. The song deeply explores ambition, struggle, freedom, change, and the consequences of seeking success at any cost, reflecting on its journey, the challenges faced, and the lessons learned along the way.

"As Death Embraces" is a short but remarkable track, standing out for its simplicity and emotional depth. Unlike other songs on the album, this one features only voice and piano, creating an intimate and direct connection with the listener. Despite its brevity and simplicity, it manages to leave a deep mark within the album. The lyrics seem to be a meditation on regret and the loss of something precious.

"Pareidolia" is undoubtedly the highlight of the album, a true masterpiece that stands out not only for its generous duration but also for its musical and emotional complexity. Inspired by the virtuosic style of Dream Theater, the track transcends the boundaries of progressive metal, incorporating a variety of unique elements that elevate it to a higher level of artistic excellence. Among these elements are riffs influenced by Middle Eastern music, which give the song an aura of exoticism and cultural depth. The skillfully constructed riffs transport the listener to unknown musical territories, where exotic melodies intertwine with complex harmonies, creating a rich and vibrant sonic landscape. The musicians' ability to express so many emotions so powerfully and convincingly is truly impressive. Lyrically, there is an exploration of themes of loss, uncertainty, and the search for meaning and resilience amid chaos. The narrative depicts someone facing challenges and uncertainties but seeking to find strength in their own spirit and confront reality head-on.

"Somebody" serves as an emotionally powerful conclusion to the album, bringing a blend of melancholy and beauty. The excellent melodic vocal lines are the beating heart of the song, evoking a sense of sadness and nostalgia that is both moving and comforting. A brilliant combination of melodic and instrumental elements creates a rich and immersive atmosphere, where each note seems charged with emotion and meaning. As the song progresses towards its end, we are taken on a rollercoaster of sensations, culminating in an emotionally charged climax. The album comes to a close with lyrics that demonstrate the idea of someone following a determination and desire to overcome obstacles and fight against all odds to achieve their dreams, thus showing their worth.

The way the band combines a variety of musical influences, such as jazz, classic progressive, modern progressive, and metal, is truly impressive. Each track is a musical journey in itself, taking the listener to a world of emotions and sensations. The production of The Mountain also deserves praise, as it is simply impeccable from the powerful guitar riffs to the intricate keyboard melodies and the killer rhythm section, every detail is handled with care and attention, resulting in a sound quality that is simply stunning.

Haken return in 2023 with full power with the release of their 'Fauna' album, and not only do they have a new (old) band member, but also present an album that seems to have a little bit of everything that essentially makes them who they are musically. After their experiments with the much popular brand of progressive metal known as djent, characterized by down-tuning and palm-muted strings, as they tried it out on their distortion-loaded 'Vector' and 'Virus' albums, the band seems to have now embraced their more traditional guitar tuning technique as well as their "whimsical" progressive origins, presenting a plethora of phantasmagorical sounds on this colorful and triumphant album.

Original keyboard player Pete Jones rejoins his bandmates after the departure of the very skillful Diego Tejeida, and immediately impacts the band's musical direction, as it seems with this record. On 'Fauna' there are seemingly no rules, everyone is allowed to go further on with the compositions' development, leading to some interesting, experimental and unconventional moments for Haken. For example, opener 'Taurus' is a heavy and excellent reminder of where the band left off their sound previously, while 'Nightingale' is a very intricate mini-opus that sees the band embrace a more minimal, yet rich approach to the song's unraveling. Track three is 'The Alphabet of Me', a great surprise on the album as on this song Haken embrace a very anthemic and almost poppy approach, a very memorable beautiful track. So far it seems like this is in a way a reformed Haken, they certainly remain themselves but the music is exquisitely fresh and inspired, and this feel has penetrated the whole release by all means.

The next two tracks are more in the realm of what for this band could be considered "traditional" progressive metal, with all the playful chops and tempo changes, whereas the excellent vocals of Ross Jennings shine through as usual. Very satisfying, playful and bombastic sound of the album so far, every song seems to be a world of its own, yet there are a few recurring elements like the frequent mention of animals, the wacky keyboard parts, or even the jazzier bits that are played quite tastefully every time they appear. 'Island in the Clouds' continues in the same vein, while 'Lovebite' allows Haken to further try on some "poppier" writing, to average results. The big 11-minute track 'Elephants Never Forget' is a true rollercoaster and exactly what one could expect from the Brits upon seeing the song's playtime - all the madness is there! 'Eyes of Ebony' closes off the album in a more tranquil manner, while it could be argued whether this track is actually necessary, or the previous one could have been a more appropriate album closer, but this doesn't really matter too much, as the entirety of 'Fauna' is excellent, the album sits very well in Haken's catalogue and helps them expand their sound in the most thrilling of ways.

Haken have rightfully made quite a name for themselves over the years, and what is particularly interesting to me with this one is just how varied it is in its outlook, which is both a blessing and a curse. The line-up has been pretty stable over the years, but here we find the departure of keyboard player Diego Tejeida, who had played on all the albums to date, but he has been replaced by the man he himself replaced, founding keyboard player Peter Jones. There is the impression that the band decided from the off to have no rules, and the result is a wonderfully chaotic release which brings in multiple versions of modern neo prog, and while they do occasionally grab a nod back to Gentle Giant, for the most part their influences are far more recent, encompassing styles such as mathcore, djent and fusion as well as other styles which to my ears do not work quite as well. There are some moments when they stay too long with some modern pop and dance themes, and I personally could have done well without them, but even when they are immersing themselves in genres I don't listen to for pleasure, I could not help but admire the quality of the vocals and musicianship while the production is clean and powerful.

This is very much an album of its time, it feels incredibly polished and practiced within an inch of its life, with perfection strived for in every beat and a restlessness and need to move on which differentiates itself from many. Even progheads often find themselves repeating melodies and even falling into verse/chorus patterns, but Haken are determined to not fit into any stereotypical norms but instead keep pushing what they are doing and hoping the listeners will stay with them for the journey. It is only with repeated plays that one begins to understand the full joy of this release, and there is no doubt that the return of Peter has assisted in shifting them in a different direction. It will be interesting to see where they go from here, as while those looking for 'The Mountain II' will be somewhat disappointed, there is no doubt this is a very interesting release indeed.

Haken have managed to evolve significantly.

They were great from the start, but they have managed to keep marching forward on their musical journey. On this album in particular they are branching out into Jazz-Fusion and various realms of the progressive landscape they previously did not touch so much. At the same time, it all sounds fresh and modern, and most importantly: inspired. Great humour as well. Looking forward to seeing them live soon, if time allows.

Regarding the first single they published, The Alphabet of Me: Love how this track channels really modern sounds (e.g. the drum samples) and innovative vocals. It's very rhythmically sophisticated, reminds me of Polyphia. At the same time, the melody is quite catchy. Awesome!

One standout track for prog afficionados: Elephants Never Forget. How cool is that - Haken goes Gentle Giant! And much more. Possibly the weirdest track on the album, and an instant favorite of mine.

This review was originally published at tagyourmusic.org.

Haken have proven themselves to be one of the most consistent acts in all of progressive metal. Even their worst album is only spotty. Virus shares a lot in common with its predecessor, Vector, with the two having been recorded in quick succession. Everything here is meticulously crafted, highly dynamic, intelligently structured, and skillfully played. However, much like Vector, once the record is over, almost none of it has stuck with me. I'm not the biggest fan of Affinity, their 2016 release, but that album (and the three which preceded it) stuck out in my mind when I heard them. I'm not sure what it is about Virus (and Vector), but it feels ephemeral. Like, if you're not actively listening to it, it doesn't really exist.

Review originally posted here: theeliteextremophile.com/2020/09/14/odds-ends-september-14-2020/

Haken is considered one of the premier Progressive Metal bands of the day. So, first off, I need to state that I really do not care much for Prog Metal, thus, I have not checked out most of Haken's previous albums (but I think The Mountain is wonderful). However, with this new album several reviewers have commented that this album is not as heavy and contains more 'proggy' elements than their other recent albums, and should appeal to those that are not as into prog metal. So, I decided to check this out. But, alas, I did not enjoy it at all. But before I dump on it, let me say what I did like about it. I love Ross Jennings vocals, great voice and style, very versatile (but almost too sweet for some of these songs), strong throughout the album. I also liked the drumming from Ray Hearne, and I also appreciated that they did incorporate various rock and pop styles into their songs. However, even when employing more melodic and rock influences, there was still an overbearing metal presence that permeated every song. Essentially, the poppier elements just seemed like window dressing as the tracks eventually reverted to a mostly metal onslaught. Best tracks for me were those with less metal content, such as 'The Alphabet of Me', but which was still just an OK pop-rock song, and 'Elephants Never Forget' (the longest track at 11+ min), which started out great, with an opening Queen-like section leading into a great Gentle Giant imitation section. However, after that, (about the 4 min. mark), the song gets heavy again and those overbearing power metal guitar and bass lines take over again and the song never recovers. I just find nothing appealing about the ever-present all-consuming heavy guitar onslaught typical of metal. There are some moments on this album that are nice and refreshing, but no full songs that I enjoyed all the way through, as the songs were just not good (and the melodies throughout unmemorable), and at some point they all became relentless bores. This is not an album I will ever listen to again. So, why did I bother to review it if I don't like prog metal? Well, just to indicate that, no, it does not really appeal to those that are not already prog metal fans, as others have indicated. Rating: 2.5 stars (and its only that high due to the fine musicianship throughout and Jennings great vocals).