WALKING IN CIRCLES

HAN UIL is the singer guitarist who played in EGDON HEATH, SEVEN DAY HUNT, ANTARES and TUMBLE TOWN, starting in the mid 90's. Influences on DYLAN, YOUNG, DIRE STRAITS, J. BECK, David GILMOUR or Nick CAVE and David BOWIE for the voice. Classic prog rock, unclassifiable mainstream with touches of folk, symphonic. A typical voice, I talk about it, fresh titles, guests using violin, flute, sax and Hammond for a well-constructed album and a 5th album presented as mainstream rock, but composed in a more complex way.

"Eternally" on a frenzied jazzy prog rock, the plus is this bluesy drift in the middle of the course and the final explosive at will, so do not hesitate to ask. "It's You Now" in mainstream rock at the start; it is after that all the musical sweetness of this artist gets underway, bringing the listener to complex and varied progressive sounds, to an oriental fruity rock and mariner at times with Laura on the violin. "Walking in Circles" sax in intro for the eponymous title, story of a guy who gets lost in the jungle (urban?) hence the indicative cover. A clean sound that is worth its weight in gold with the instruments spread out, with the padded voice à la Robert WATT, a brief little gem and a finale in the middle of the jungle. "Love Can't Be Made" singular, nervous title, where the similarity with the voice of BOWIE is de facto, on an unclassifiable merger with the SECRET MACHINES. "Hold On" guitar intro DIRE STRAITS or Chris REA, flute, voice, explosive cocktail; the flute stamped Charisma Label for the English rural side is all the rage and sends on GABRIEL and the Genesis melodies; the guitar solo draws on Brian MAY in short it is the title with drawer, with musical stacking on a crescendo all that is more evolutionary and entertaining.

"Ring the Bells" again for a short nervous alternative rock title which denotes, which gives the impression of being on another album if not for the guitar solo which squirts and shows Han's paw, Christmas refrain. "One in a Million" superb crystalline intro where the guitar arpeggio is highlighted; melancholic ballad with its burst of progressive gaiety which sends on an aerial air where the sax comes to amplify the notion, it reminds me of Lana DEL REY; Han and Aldo show that a divine guitar solo is good for the ears; the sound can recall the symphonic creative madness of GAZPACHO. "The Cult" which reminds me of the band and makes me write that we are dealing here with washed-out, raw rock; quickly the suave voice takes on a delicate groovy and bluesy side that can destabilize; the guitar solo on REA, it looks like crystal; the contribution of the synth is reminiscent of GENESIS 3rd period for a time, proof of the titles that they wanted varied and which can be confusing. A tonic finish as if to say that you have to be on your guard. "Music Loves" on the AOR, the mainstream of the 80's, a touch of Gerry RAFFERTY for the contribution of the sax; a catch-all title invading your musical schemes with the Hammond organ for a thrilling vintage throwback; a musical fusion of this progressive limit that could be found among great artists and groups who did not claim to be prog but did it for their personal pleasure.

Han UIL does blues, mainstream rock at first, then he bewitches you gently but durably; hypnotizing, varied titles, I read immersive yes that's what it takes to go beyond the first exploded listenings and then open up to the progressive universe of this album where a number of elaborate sounds manage to explode all at once your progressive ears. You have there a singular musical exploration that should not be missed, in short I immerse myself in this step.