JOHN HACKETT

Oddly, no flute is featured, as Hackett must have consciously wanted to produce a rock album. The skill, dexterity and sound are all there but it's frightfully sedate, except when it isn't, and that's even worse. I wish he would have offered more like "The Hallway and the Tram" which eloquently expounds upon the choices that might have led to checking out of the big city, and "Dust" is also a lovely and lucid ballad. Unfortunately, these are offset by the likes of "Ego and Id" which we have heard before from his bro, the intrusive "Whispers", and the lethargic "Fantasy", which never really awaken.

Luckily, Hackett does return to flute in subsequent discography entries, though it takes 10 years for a successor. Suitable for committed fans of the aforementioned, but others might want to check out those first. 2.5 stars rounded down.

A word needs to be said about the participation of Steve Hackett and Anthony Phillips (yes, the two beloved guitarists of Genesis in the same album!) There's nothing invasive in their presence here, more likely a familiar atmosphere descending on a new planet, newly interacting with a fresh landscape. You can hear big brother Hackett signature rhythm guitar in Track 2, Look Up, where some brand-of-the-house riffage elegantly acommodates the way into the chorus, with Acolyte reminiscence. Obviously, that sort of thing keeps happening all the way through the album, to a full satisfaction of Steve & Genesis fans. In track 4, White Lines, the keyboard player of the Steve Hackett band, Nick Magnus, storms in with towering synth chords, giving way to a terrific electric guitar soloing, tastefuly discharged by Steve. In Track 10, Rain, comes to shine the most epic side of his axe.

Track 7, Satellite, is the place for Ant to display his acoustic magic, full of intricate (yet sweet) fingerpicking in classical & 12-string guitar, and harpsichord too, for good measure. A gem to treasure, there's no doubt.

The songwriting ranges from solid to brilliant, with the possible exception of Track 12, Another Day Another Night, a rather forgettable slice of pop, and John also shines with his flute, defining the atmosphere of the music with subtle and ever changing touch. His vocal delivery comes from an educated, rather than a naturally gifted voice, and still, he finds his way to express the emotional complexity of the songs with taste and vibrance.

For a Sunday morning, better with rain.

Just listen to the opener to get the picture of what I'm saying: the thing starts with an almost heavy riffage by Nick Fletcher, and then the vocals kick in, wrapped in effects to ensure their presence in the mix. The result is great to my ears, even when it's not "classic", that's to say, there are no epic vocals riding over the band's proceedings. They rather contribute strategic brushes on a pair with the transverse flute, and the electric & acoustic guitars.

The overall sound of the album fluctuates (in a very natural and likable way) from Jazz-Rock/Fusion to Neo-Prog. If you want to taste the instrumental contributions of the flute and some electric guitar soloing, try track 3, A Time In Place. For more traditionally constructed songs, please go to tracks 6 and 8, Mist On The Lake & Sign Of The Times.

An album made with taste and talent by a dedicated group of musicians.