AMAROK

With the release of Mike Oldfield's "Amarok" on June 14, 1990, the world gained a classic. The album reignited the fire for many fans of his music and it was much needed. His previous two albums, "Islands" (1987) and "Earth Moving" (1989), were huge disappointments for most fans. It seemed that Oldfield had permanently lost the art of creating captivating music. But then came the beautiful "Amarok", an album where Oldfield broke away from the commercial direction he was taking at the time and returned to the epic prog of the 1970s. "Amarok" was considered the follow-up to the 1975 classic "Ommadawn". How unpredictable can you get?

Releasing such an album demonstrated Oldfield's stubbornness at the time. He defied Virgin, his record company, by presenting them with an album that didn't align with their vision. The relationship between them was far from good. Oldfield believed that Virgin's focus on promoting their punk and new wave bands came at the expense of supporting him. Nevertheless, "Amarok" seems to have been made for music lovers. Put on your headphones. "Amarok" unmistakably bears Oldfield's signature. With impressive craftsmanship, he blends prog, folk, new age and world music. "Amarok" is heavily guitar-oriented, with a lot of string instruments and very few synths.

The album consists of a single one-hour track that feels like a burst of pent-up creativity. Oldfield unleashes all compositional restraints and delivers moments of greatness. It is a maze of relatively short themes that cleverly overlap or abruptly end. "Amarok" is primarily a labor of love, with a beautiful organic glow. The melodies, harmonies and rhythms, mainly produced by the instruments themselves, are strong. Additionally, the album is filled with various sounds and effects. As a result, "Amarok" is a massive patchwork quilt that is incredibly cozy.

In the beginning of the track, Oldfield frequently asks if you are happy. Many will answer with a resounding yes. You cannot ignore the beauty of the album. Take, for example, the intriguing intro where the acoustic guitar draws you into the rest of the album. For one hour, you are confronted with the genius beauty of the music. Don't be surprised by a suddenly ringing telephone or a heavily distorted mandolin. Oldfield keeps you awake throughout. Often, a razor- sharp fragment from a guitar orchestra cuts through the music. Later, it turns out to be part of a brilliant country piece. It all fits together so well, whether it's the flamenco section, the pulsating female vocals, the euphoric guitar solos, the ambient sounds, the playful recorder part, or the exhilarating African drum rhythms. How brilliant do you have to be to create an album that sounds extraordinarily coherent despite its fragmented approach?

Normally, such an album would have a significant lull somewhere, but not with "Amarok". There is a constant underlying tension. Although the expectations are fulfilled a few times along the way, it truly explodes into a grandiose finale. During the last quarter, all the puzzle pieces fall into place and you hear music that is pregnant with anticipation. There are elements such as marimba, glockenspiel, piano, and, of course, the striking tubular bells. But Oldfield wouldn't be Oldfield if he didn't also make room for the voice of Margaret Thatcher followed by a tap dance section. The last minute is monumental and the African choir sings with full force, leaving you feeling overwhelmingly happy.

In conclusion, "Amarok" is a breathtaking masterpiece that marked the beginning of the third phase in Oldfield's career. It is unfair to criticize Oldfield for being indebted to himself. Let's not do that. Let's commend him for his unwavering confidence in his own abilities.

Orginally posted on www.progenrock.com