FAUNA

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.