12

The veteran Focus band is back, featuring a quartet roster comprising two survivors of their classic line-up, founder & leader Thijs Van Leer and drummer extraordinaire Pierre Van Der Linden, as well as two relatively newer guys, axeman Menno Gootjes and bassist Udo Pannekeet.

The opening track jumps straight into business, with asymmetric rythm underpinned by great syncopated figures, courtesy of the keyboardist Van Leer, who then changes gracefully to transverse flute, and intertwines sparkles of melody in between the dense instrumental weaving. The second track is the customary "Focus #" of each Focus album, where they alternate from a calm and melodic section to another one , faster and rather pyrothecnical in style and execution. No problem with that, I just can´t get enough of that old (but still tasty) trick.

There are two tracks paying hommage to two giant figures in contemporary music: (Bela) Bartok begins with a restrained piano motiv, so moody and full of nostalgia, and then mutates in a quintessential Focus melody by the electric guitar, an impeccable exercise of taste, articulated on ample intervals that balance right on the fence between jazz fusion and progressive rock. (David) Bowie is a more intimate affair, a piano solo commencing in the low and middle register, and belating the jump to the high keys. I think I can feel the evocation of the loss, without any sense of depression or sadness.

Anyway, I have to say that the only track that made me feel in the true presence of the formidable outfit that Focus were in their halcyon days, is the fourth one, Meta Indefinita. There the whole band approaches the greatness that lies in their legacy, and one still wishes to hear so many years later. Special mention to drummer Van Der Linden, who holds the tension necessary for the group to shine, and goes for the rhythmic throat of this amazing piece, insuflating a higher sense of density and purpose that I cannot hear anywhere else on the rest of this album.

Tracks 5 and 10, I find them rather mellifluos, self-indulgent perhaps. Nura promises more than it delivers, with a nice keyboard intro, that segues into a somewhat incongruent outburst by the band, with a way too loud guitar contributing almost nothing to the musical substance of the piece. Postiano is another case of good start and not much more after that.

Don´t worry, I think one can possibly listen to the entire album and enjoy it as a whole, but hardly avoiding mixed feelings. There are moments of awe, but also others not so spectacular. Never less than good, however.

Not sure who is responsible for the sound production work on this album but they have done a grand job. Truly warm and detailed and just exactly how I like it. Side One of this album is excellent and quite heavy in places. The newish line up is fully gelling and it doesn't vary too far from what you would expect from Focus. Side 2 features more piano from Thijs van Leer and is a bit lighter. If you are into old Focus this is certainly something to check out. Remarkably van Leer is now 75 but you would never know it. Still as sprightly on those keys as ever. Also a big hand clap to the Roger Dean artwork which is lovely.

As one may have guessed from the album title, Focus are back with their twelfth studio album, which may not be many given their very long existence but it is a delight all the same so it is quality and not quantity. Thijs van Leer (flute, organ, piano, synths) is still very much at the helm, while Pierre van der Linden (drums) also shows no signs at all of slowing down even though both are now well into their seventies. Menno Gootjes (guitars, piano, synths) first joined the band in the 90's while "newbie" Udo Pannekeet (bass, synths, programming) has been there since 2016, and the two youngsters have taken the audio reins on this album, acting as producers.

This sounds like the work of a much younger outfit, with Gootjes blasting away with some stunning leads, daring the others to stay with him, yet Linden is still as powerful and dynamic as he was when playing on the stunning "Hocus Pocus" all the way back in 1971 and shows no sign whatsoever of slowing down. Thijs van Leer has always been the master of the organ, in many ways reminiscent of Jon Lord in that he always puts a huge amount of himself into the playing, becoming part of the instrument in a way which is much more than being "just" a player. But here is often lets the guitar take the lead, strident and impactful while he plays more of a supporting role. This feels very much like a much younger Focus, and with Roger Dean yet again providing the artwork it really does feel as we are back fifty years. This album is a delight from beginning to end, one which progheads will do well to look out for.