Renaissance is an English prog band and we present a track by track look at their latest offering. This is the T-Mak World Symphony of Light review.
Track 1 – Symphony of Light – Dedicated to Leonardo Da Vinci
Hands down, this is my favourite track on the whole album. Clocking in at just over 12 minutes, it is the longest track on the disc and in my opinion, the magnum opus. Lyrically and musically dedicated to Leonardo Da Vinci, Haslam literally paints brushstrokes with her voice and pours dedication into each word with the same vigour as she would on a canvas. Her voice is commanding and has a range that I have politely asked Santa Claus for on every Christmas Eve since I started singing. In relation to other music, Annie reminds me of Austra vocalist Katie Stelmanis, especially in her high register. The track has hints of early Tull and Genesis and even wisps of Michael Oldfield. The vocal phrasing in the chorus is brilliant and Haslam’s descending verse notes with the bass line is haunting. The whole piece is brilliantly put together like a tasty Shepard’s pie – the robust filling including piano embellishments, breakdowns and tasteful riffs, flanked on either end by the song’s title theme; a buttery crust that keeps the whole pie together. I would love to see this performed live. And I am clearly very hungry.
Track 2 – Waterfall
Not to be confused with Jimi Hendrix’s psychedelic track of the same name. Though this one is just as beautiful. The song starts off so calmly, with birds chirping and forest sounds that remind me of my first listen to Yes’ “Close to the Edge.” Sticking with Yes, the song “Wondrous Stories” pops into mind because of the equally catchy chorus on Waterfall. Listen for the moving key change and Annie’s soaring register near the end of the piece.
Track 3 – Grandine il Vento
In English, it translates to “Hail the Wind.” This was the name of the album before the Red River re-release. Just like the Italian name suggests, Annie shows off some opera training, especially in the chorus. A great number here with overall good song writing: clear verses, pre choruses and choruses with interesting tags and breakdowns. The piano in this song reminds me of a burlesque style tragedy being told through Rave Tesar’s fingers and Haslam caps the song off with a final high note that almost parts the clouds and summons a beam of light from heaven.
Track 4 – Porcelain
A little beach-y congo drum flavour in the intro and some lovely keyboards and marimba set the mood for this passion play. I like how the vocals enter over the keyboard riff lines and the way it all blends together. It keeps the song interesting without being too distracting. In this song it is clear that Haslam is a very experienced and true lyrical poet, even from the first few lines: “Skin like porcelain and black as night, The sleeping village lays quiet, In the pouring rain the rhythm drives, Songs of darkness come alive.”
Track 5 – Cry to the World feat. Ian Anderson
Nice 12 string acoustic intro that is reminiscent of a favourite Bealtes song of mine. We get a Celtic vibe on this song and the lyrical content sends wise and positive messages to humanity. The chorus on this song is the most memorable on the album and even after one listen I can hum the tune in my head by just reading the title. Ian Anderson is a guest flutist on the track and makes his presence knows within a second of his guttural, Jethro Tull-esque first note, taking us into verse 2. Ian returns to play the song out at the end and helps us resonate with some of the lovely phrasing and hopeful lyrics that Haslam has once again provided: “We are this world we live in.” “Change is near and we’ll all control.”
Track 6 – Air of Drama
Oui oui. A French flavour, you can almost taste the baguettes here. Harpsichord and accordion sprinkled throughout this piece and a romantic love story duet to boot. We hear the confident voice of bassist David J. Keyes here as he portrays the male’s perspective in the tale.
Track 7 – Blood Silver Like Moonlight feat. John Wetton
A past member of Renaissance before his encounters with Asia and the widely popular and proggy King Crimson, John Wetton joins Haslam and the gang on a beautiful duet piece called Blood Silver Like Moonlight. The piano intro here is mesmerizing and almost serves as the eye of the storm in relation to the entire album. Mystical and relaxing, as if Tesar is channeling Tony Banks right before the Apocalypse in 9/8. Vocal melodies here are to be savoured, rising and dropping like a gull on the wind and Wetton taking the chorus to a new atmospheric height. The best part comes near the end with Haslam and Wetton sharing counterpoint melodies that seem to have been mathematically written out by Mozart himself.
Track 8 – The Mystic and the Muse
As the album continues, more and more we fall into a dramatic play. This song takes a nice, dark turn, descending into a new progressive territory. It’s just like a musical digging deep into a story through sounds and rhythm. Mystic and Muse almost serves as a 7 minute interlude, perfectly placed in the album track listing. This being the most progressive song on the record in terms of instrumental and vocal acrobatics, it reminds me of my favourite thing about progressive rock. Sometimes the ideas are so plentiful and intricate that the payoff really hits you on the third or fourth full album listen. Which is what this song does. The genius of the full band working together is seen and the passion for music and composition is shown. Renaissance explores new nooks and crannys and the vocals come in organically with seamless changes. The band gets to show off a bit here and it becomes the deepest track so far. Mythical imagery, big metaphors and a very dramatic final note make this one a clear fan favourite. No wonder it gets standing ovations when it is performed live.
Track 9 – Tonight
Tracks 9-11 are bonus songs on this album release. “Tonight” starts with just vocals and piano which gave me feelings of sadness, hope, passion and love. “My lonely heart has gone forever, Tearful with hope and joy”
Track 10 – Immortal Beloved
Nice chorus phrasing in the verses and chorus. You can hear the signature Renaissance sound and brand very clearly in this song and no wonder it was chosen to be re-released on “Symphony of Light.”
Track 11 – Renaissance Man – dedicated to Michael Dunford
A very touching song lyrically which paints a pretty picture of a creative and greatly loved band mate, Michael Dunford. You can hear that he will always live in the hearts of those he loved. The last lines are very strong and tell us he was lost quickly, was shy and reserved but loved nature and music. A beautiful way to end an album a bittersweet journey in the past year for Renaissance.
Verdict: Essential listening for lovers of progressive rock or just simply complex, deep music.
