HAZE

Unlike the 30th Anniversary show, where there had not been a new release since the 20th, here they had a 'new' album to promote in the excellent 'The Last Battle' so it is no surprise that we get quite a few songs from that album, as well as the old classics. It never ceases to amaze me how Chris manages to provide keyboards and bass at the same time, switching instruments and pedals with ease, while the addition of Ceri and Catrin certainly provides way more colour. "Over The River" has some delicious piano and there is plenty of space for Paul to shine vocally, and then everyone kicks in together and the symphonic Neo is back for all to hear.

"Balder and the Mistletoe" shows the newer side of the band with a folkier influence and lovely flute, while "Wilderness of Eden" takes on new life with the additional instrumentation. Mind you, we also get an interesting take on the old "Dig Them Mushrooms" which here also includes a section of "Cinema Show". But where would we be without "The Vice"? It may be have been first recorded in 1983, but in 2018 it was still as vibrant and powerful as ever with a great guitar introduction, layered keyboards and drums going around the kit and then we are off. Of course, this 40th anniversary set is now six years old, and the band have just released a new album, so I guess we ought to be gearing up to the 50th Anniversary shows soon. They may have been celebrating four decades those nights in 2018, but there have been two new albums since then and there is no sign at all of slowing down.

Although the band had been in existence for five years by the release of the original cassette they were really up against it in the UK as the media decided that prog music had been killed by the advent of punk, and if it hadn't been then it should have so there was little in the way of promotion, even for a band travelling the length and breadth of the UK in a beat up old ambulance. Marillion managed to open the door a crack, due primarily to their larger than life singer, but before anyone else could get through it was slammed hard on their foot ensuring that many bands would survive by word of mouth and gigging hard.

Haze were fraught with the line-up issues suffered by many bands, and prior to this cassette had only released a single (on their own label ? many prog bands followed the punk/NWOBHM route in this regard). Recorded in their cellar, hence the name, there is very much the feeling of a band still finding their way, although they were already getting their head around creating their own classics, as well as taking influences from the likes of Genesis. "The Vice" is a song they still perform to this day, and rightly so with great linked interplay from Paul and Chris, and some stunning shuffles from Arthur.

The additional demos and sessions available on the longer version show just how raw the band was in their early days, full of passion and power, all of which add to the picture of just what they were like in the days long before a colour monthly magazine devoted to the genre. Along with Pendragon, Solstice, Quasar, IQ, Twelfth Night, Pallas and others Haze was a band who refused to accept a genre of music they loved was no longer viable, and some 40 years (now) since the original tape was released they are still out there proving their worth. This is a great way of discovering more about one of the UK's most important Neo acts.

When it comes to Neo, these guys set the template all the way back in 1978 and for many years did not see a reason to change too much but the addition of Catrin has added to the style they pursued for the many years they were a trio. Their style of prog has always been hard rock-based, with Paul's clear vocals taking them in a very commercial area while Chris switches between bass and keyboards as his lead instrument. Catrin is unusual in that she plays both strings and woodwind, which means she can easily provide melodies which moves the music more into folk areas when the need arises. Yes, there are moments when one is reminded of The Moody Blues or Jethro Tull, but this is solid Haze throughout as the brothers from Sheffield take us on yet another journey. There is a real depth to their music, delivered by two guys who know each other incredibly well and combine to produce music which at times can feel quite simplistic but the depths of the arrangements take them to a whole new level with bass, guitar and keyboards often coming across as one. They also are never afraid to add multiple layers of rock guitar if that is what is required, and no-one can ever accuse them of wimping out, as they are an outfit who never forget the second work in the term "prog rock".

It is commercial, it is fun, and for any fans of this style of progressive music then there is a great deal here to enjoy. I have yet to hear a Haze release I didn't like, and there is no reason at all to start now. Since this there has been the most recent release 'The Water's Edge' and although they have now been at it for 45 years Haze are showing no sign at all of slowing down yet, and long may they continue.

Kudos for inviting the fabulous guest singer (and current prog throb) Charlie Bramald to open up the festivities on the first track "Flight Behaviour"! Marshalling drumbeats, thick as brick guitar riffs, bubbly synths, epic vocalizing and a rocking attitude convey the wake -up call, as the Catrin Ashton flutes take their turn in enchantment, paralleled my smooth guitar solo. The acceleration pedal is maintained on the companion piece "Not Alone", owner of a sing-along chorus urging to be yelled out by an audience in a concert setting, the highlight is the muscular bass propeller, and the colossal interweaving of instruments created in its wake. Paul's vocals are equally on full throttle, utterly enraged and compelling, a trait that will be repeated throughout this luscious album.

The title track is a ballad in the fine tradition of the island's folk heritage, elegant and refined in its simplicity: a gorgeous melody, with anthemic chanting chorus once again, a strait-laced instrumental scaffold, crowned by a gallant axe solo that truly delivers the goods. A perfect set-up for the afore mentioned epic track that will blow your hair back without any gel, even if you have a bald head. During the eleven minutes of "the Outlandish Knight", this seasoned band takes the listener into a fairy tale like soundscape that reeks of medieval minstrels in the gallery, story telling by some gifted troubadour, supple flutes supplying the magical dust of which dreams are made of. The acoustic guitars and the ribald singing eventually launch into the heaviest armoured chevalier riff this side of Lancelot, Chris manhandling his rotund bass with vindictive valour, his synths emulating a volley of arrows arching down from the heavens, creating an almost apocalyptic crescendo. The subsequent ambient pastoral transition is celestial, a pure prog move that rekindles Trespass-era memories. The main melody is expressed on the piano, in a neo-classical format with flute as a loving companion, with Paul unleashing a glistening lead guitar flurry that is shockingly beautiful, string mellotron in tow. The urge to revert to birth is exclaimed with the original thunderous fretboard riff. Crimson waxed seal of approval.

Only a warm, suave ballad could possibly follow such a passion play spectacle, and "Belong" has all the serendipitous qualities an aching love song could possibly afford, a grandiose melody that is 'painful, honest and true'. Fretless bass, and sentimental violin heighten the sorrow to great effect, holding hands with a masterful vocal performance that should stand the test of time, as if there ever was a tune that should make the 'charts', its this one!

Head on out to a 'downtown bar', feeling footloose and fancy free, perhaps even get slightly drunk but its just defying fate and "Drinking with the Devil". The audacity to incorporate a mix of Aerosmith, the Allman Brothers (hint) and ZZ Top into a devilish and scandalous boogie woogie, watered down by some spice-a-delic single malt Scotch whiskey. The swirling organ smoking in the backroom, the rock n roll beat and that darn saxophone (Derek Nash) ablaze, could it get any better? Easily the best blues/rock tune heard this year!

Charlie makes a second appearance on "Who Goes There?", a pleading lament from a fearful sentry guarding the gates of sanity, where the lead and backing vocals swoon with wonderful delight, a whistling synth accosting a lead guitar venture that suddenly bursts into an explosive fireworks display of conviction. Is it a woman in white, or a woman in black? The grey spectre remains elusive, definitely not carnal. The instrumental playing is stoutly defiant, exhibiting valour and courage.

The mood remains forceful on "Parasite", a grinding, at times snarling ('A wolf in sheep's clothing'), and even spooky, as if lost in some gruesome cemetery when the ghosts search for a convenient host. Definitely Halloween-like in tone, like an English version of early Ange (Le Cimetière des Arlequins/Au Delà du Délire).

A rather rare event, this release ends with a second world-class ballad (coming up with even one, is praiseworthy) but "Redemption" is a triumphantly poignant melody, Paul's valiant voice and orchestral keyboards elevating the arrangement to glorious heights, underpinned by a respectfully forlorn and extensive guitar solo that exudes hurt, compassion, revelation and finally, liberation. The thrashing but controlled drumming is phenomenal, the ebb and flow haunting as the outro slowly vanishes into the ?haze.

The melodicism displayed is off the charts, ever single track being given a memorable sheen that only increases its polish with repeated listens. Experience, inspiration and craftsmanship can do that to a veteran band, refining their muse like fine wine.

Another enchanting work that will find its place in my top 10 albums of 2024. A must hear, a must have.

5 sandy shorelines

Haze themselves are a band of fluid genres. They can progressively rock it out with the best of them, always have time for a ballad and can call upon folk influences when needed. Here's some short track reviews.

Flight Behaviour

This sets the tone for what is to come. Haze don't generally do short songs and this one has a long but wonderful musical interlude (around 3:20) in the middle with flute, keys and guitar splitting a tougher drum/guitar driven track with interchanging vocals. Haze create memorable melodies and this is already a crowd favourite.

Not Alone

In harder prog rock mode on this one complete with another hard hitting but fully relatable message. This is often musically reminiscent of some of the band's older tracks and is a great up tempo number.

Waters Rising

Haze are keen on environmental issues and here is a warning shot to the deniers. Not only does this have a great message it is also a lovely song showcasing Paul McMahon's voice that builds up to a real singalong at the end.

The Outlandish Knight

As previously mentioned the band like long tracks and this one clocks in at just over 11 minutes. It starts with a heartwarming flute and folky vocal but then descends into metal territory then prog before, just as flight behaviour a lovely flute melody that morphs into a prog solo. This track has it all and fair play to Haze for pulling it off. This is what music should be about. The song has a calm lull in the middle with a nod to Von Daniken (one of Chris McMahon's previous bands). We finish off back in metal territory and the 11 minutes is swiftly gone. This really is a cracking track but then so many of them are.

Belong

After such a mammoth track things are briefly brought down with the lovely ballad 'Belong'. This fits in so well at this point in the album and has a bit of a swing to it.

Drinking With the Devil

This is a bit different from Haze but draws on influences. Paul drops his vocal to match the bluesy guitar. The track is very catchy and has several great guitar licks. I love how the tempo rises around two thirds through the song, guitar and keyboard interplay before a timely saxophone. The last minute it all comes together and sounds like one of those classics we all should know, maybe a bit of deja vu?

Who Goes There?

This one of my current favourites, another to use some beautiful Von Daniken melody. The song is haunting throughout with great use of vocals and keyboard. The tempo is picked up in the middle as the cries get louder for who the intruder may be. At around 3.45 an absolutely fantastic keyboard melody kicks in, one of those you are excited to hear this blends so well into the song.

Parasite

So many great tracks into the album 'all killer and no filler' here we have probably the darkest song on the album which somehow reminds me of the thrash band Overkill when they menacingly slow it down (it's probably just me). Another instantly memorable song which crawls along before the tone rises at the end in epic style finished off in true prog style.

Redemption

Redemption has a much more laid back feel and is a fitting closing track to the album however the mellowness gives way to a mega guitar solo, it almost reminds me of Watermelon in Easter Hay as the soloing washes over the main melody throughout.

This really is an album full of what makes Haze special, they can pull off a number of different styles and mix them up as they see fit. Each listen brings something new and this is a band still evolving after 46 years sonically and also physically with younger members of the family getting involved. It's also worth mentioning that all digital copies on the bandcamp site feature an extra 4 songs, three variations on songs on the album and one extra song clocking in at over 14 minutes that will be familiar to long-term fans. In total there is just short of 100 minutes of 2024 Haze on offer here. Buy it and play it on repeat 4.5/5

Catrin adds an additional element, but she is not on every song, while Chris uses a wide variety of keyboard sounds as well as using both fretted and fretless bass and Paul moves between acoustic and electric guitars with ease. Paul provides lead vocals on all but one song, where he is replaced in that role by his brother, we get sax on just one but for the most part this is the quartet. Chris has always had an affinity with folk, and "The Outlandish Knight" is their version of a traditional number where they move through folk to metal to prog, back to metal, to ambient, back to prog, then folk before ending back on metal. "Drinking with the Devil" has them channelling Deep Purple, "Parasite" is more VDGG, while they seemingly have never found a time signature they don't like, so while 4/4 does make an appearance they are as likely to be playing in 13/8, 6/8, 7/8 etc. There is a great quote on their website, "We are Haze and convention is optional" (which would make a great t-shirt).

More than 30 years since I first came across the guys, and 46 years since they first formed, Haze are showing no sign whatsoever of slowing down. Anyone who saw them playing anywhere and everywhere in the Eighties will be glad to know they are still rocking hard with wonderful songs and performances. Long may it continue.

HAZE! AKA, The McMahon Family Band

Need I say more? Wait...you haven't heard of HAZE? But they've been around, more or less, since 1978! Sheffield, UK-based, helping progressive music stay alive in that dour disco-drenched decade.

Confession

No, neither have I, and I'm old as dirt. Speaking of which, Paul- vocals/guitars, and Chris- bass/keyboards must have been around 10 or 12 years old when they started the band. (Joking...I think.)

Totally amazing to hear them still hard at it, now with their latest release to which I now address myself.

Respect!

Influences come to mind, both because band members freely note them, and because I've been listening to music for so darn long.

I could well hear Ian Anderson have a heyday with some of these folky/dark/story-telling/sardonic lyrics. And of course Catrina's flute and violin touches didn't hurt that comparison either. Strawbs, in the mellotron/majestic, symphonic passages that HAZE produces with effortless grace.

The Moody Blues, Grateful Dead (!), Rory Gallagher (some very tasty, spry bluesy guitar licks here and there), KAYAK- who also have spun some classical majesty from time to time, Uriah Heep with that growling, soaring Hammond organ sound...I could go on.

But It's Really HAZE After All

That's one factor that enchants a progressive rock fanatic- the way HAZE pulls from, adds to, distills, makes theirs- the past masters in one simmering stew.

Drawing From Ancient Arts and Modern Maladies

Lyrics refer to dwarves and ancient horrors, "anti-social media" hatred and hostility and ignorance, and of course, the pandemic scourge which has changed, distorted, and ended many lives around the planet.

Perhaps the Center

For me at least, the center of this album, the most touching, disturbing, tender, and uplifting track is "Suzanne". The back story tells of 90-year-old Suzanne Hoylaerts who when offered the ventilator to breathe for her COVID- ravaged lungs, declined, saying the technology should be given to younger souls. She had a good life and wanted to help the next generations- then, died.

Even Anti-War Sentiments

The album covers a lot of lyrical and musical territory, as I hope I am explaining. I've always been a soft touch for long-lived bands, knowing a little bit from personal experience of the rigors of band life- and a soft touch for musicians who really have something to say musically and lyrically, things that have substance, weight, and import.

HAZE Does

Musically, then- crazy tempo changes. Variety from gentle to raging, tender to soaring, acoustic to metal, intricate to majestic. I couldn't get enough. This progressive rock fanatics is enchanted. One will hear English sea-shanty sounds, folk, symphonic progressive music, progressive metal, mellow keyboards, misty mellotron, soaring synthesizer, mandolin, gritty bass, crisp percussion.

Woven together so well.

And is the torch being passed?

Danny McMahon, Chris's son, masterminded "Lockdown", playing guitars, keys, drums- the works- and shows a deft, singular mastery of the idioms presented, yet adding some freshness and new perspectives to the band.

I had the impression of considerable McMahon talent there, next gen...

In Conclusion:

Masterful. Moving. Monumental progressive rock recording! 4.5+ stars.

Originally published (with fancy pix and links) on progressiverockfanatics.wordpress.com

There's no need to get out and search for the original cassette, the band made this album available in 2013 as ''The cellar tapes- 30th anniversary edition'' along with some demo and live tracks and the pair of cuts present on Haze' lone 81' single.''The cellar tapes'' is a great evidence of how desperate some young musicians were back in early-80's to produce refined, semi-symphonic music with influences from giants such as GENESIS and PINK FLOYD, they would do whatever it took to get their stuff exposed and Haze established their own Gabadon label to promote this first work.Musically it's somewhere between soft Symphonic Rock and the emerging Neo Prog sound, borrowing tunes from a handful of famous Rock and Prog tracks and throwing them into their own ideas, for example ''Turn around'' contains echoes from Genesis' sentimental ballad ''Afterglow''.The material contains the typical raw values of 80's British Neo Prog, it's played with honesty and passion and swirls around synth- and organ- drenched arrangements with full-blown electric guitars and some theatrical aspects during the vocal parts, while the more symphonic moves contain some light flute parts, performed by guests Jill Stoddart and Judith Copey.Some strong synth runs, some pastoral passages and even some New Wave aesthetics pop up here and there, the recording sounds very rough at moments, but there is a definite mood by the McMahon family to deliver elaborate and progressive tunes, even if at times they derail and sound more angular than needed.

This is a direct order by the band's website.The early days of Haze are exposed here in an amalgam of fading symphonic and emerging New Prog stylings with organ, synths, electric piano and electric guitars in evidence, mixing rockin' themes with 70's-styled lush arrangements.Recommended.

The improved sound quality enhances the appeal of already majestic cuts like "The Last Battle", "For Real" and "Edge of Heaven", but it can't really do much for lyrically limp and musically hokey material like "Classic Rock Bar" and "The Barrister and the Barghast". Rocking out also yields mixed achievements, with "Train" a genuinely endearing blues folk number that is part SWEET and part HORSLIPS, and "Long Long Gone" a plod rock bore.

One of the problems with HAZE is that they are not really convincing in any of their facets - for instance, the Celtic instrumentals lack the wherewithal of more committed practitioners. "Balder and the Mistletoe" drags on for 5+ minutes without ever piercing its tightly wound trad bubble, electric instrumentation notwithstanding. "Is That It" and "The Red Room" are probably the most progressive tunes here but again should have wound up mostly on the studio floor. They fare best when positioned in the broad crossover folk rock of "Dragonfly", "Over the River", and the previously mentioned highlights.

As a dusted off and polished summation to HAZE's career up to now, "THE LAST BATTLE" is a modest success, but let's hope that they can return to the front with new weaponry before the old gets recycled yet again.