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Steve Hackett releases a new album these days entitled "Beyond the Shrouded Horizon." Following his passion for mixing different styles, in this latest work, the listener will be enchanted by finding the rarefied atmospheres of the best experimental prog. Steve has learned to make the most of his voice's natural tone, supporting it with the choirs offered by the rest of the band and the many important guests who wanted to participate in the recordings, in particular: Amanda Lehmann, who already plays in the Steve Hackett Band as a second guitarist, and Chris Squire from Yes on bass.
"Beyond the Shrouded Horizon" is an excellent album, among the best of those inaugurated with "To Watch the Storms," where experiences blend into a mix with a thousand facets, while the songs seem connected by a common denominator that the guitarist skillfully weaves thanks to the passages of his legendary guitar.
It is surprising that the album is distributed in a single CD version, considering that the second CD, present exclusively in the Special Edition, completes and deepens what has already been introduced by the first disc. Let's delve into this new endeavor by Mr. Hackett & company.
"Loch Lomond": is a lake in Scotland. From this natural beauty, Steve opens the album with a solemn intro that transforms after a few notes into a heavy electric riff that will delight the audience listening to it live in upcoming concerts. A sudden change of tempo, and we find ourselves in a soft, almost Celtic atmosphere, with acoustic guitars, bagpipes, choirs, chasing each other in precious, decidedly prog textures.
"The Phoenix Flow": a splendid instrumental and natural tail of the previous track, characterized by Steve's skill on electric guitar and his masterful touch capable of making even the simplest phrasing exciting.
"Wanderlust": a classical guitar piece lasting only 44 seconds, an ideal bridge between two songs.
"Til these Eyes": where Wonderlust ends, there begins the Floydian Til these eyes, with Hackett's voice well-focused on a somber melody developing on acoustic bases, and an excellent orchestra managed by Roger King's keyboards.
"Praire Angel": a track with wide solo excursions, with Steve managing his usual Gibson Les Paul, sometimes distorted to the max. In reality, it is again a bridge between two songs; the fade-out indeed gives rise to the beginning of the next song.
"A Place Called Freedom": we could consider it the single of the album, thanks to its immediacy, and the happy choice of instruments used. High-value arrangements, among the most sophisticated heard in the English guitarist's productions.
"Between the sunset…": this melody vaguely recalls some already heard in Defector, especially "Leaving," supported in this case by the acoustic guitar and choirs that chase each other to give life to a suggestive chant.
"Waking to Life": oriental atmospheres for Amanda Lehmann's seductive voice. A song among the lightest on the album, but not for that devoid of that certain irresistible something, almost a subliminal invitation to listen again to capture every single hidden nuance.
"Two Faces of Cairo": musical lines that seem to want to sketch the sun-drenched streets of Cairo. In this case, the contrast with the lightness of the previous song is too sharp, a perhaps intentional choice by the author.
"Looking for Fantasy": an almost pop song, does not excessively clash with the other tracks, especially because it is enriched by the numerous guitar interventions that enhance its yet weak melodic structure.
"Summer's Breath": new acoustic interval that is appreciated before introducing the brutality of the following song.
"Catwalk": as already noted earlier, this work combines different musical styles; this is the moment of the Blues, meant as the most visceral and heavy Blues imaginable. It obviously clashes with the rest of the work, which could be considered a real monument to the musical diversity so sought after by the British guitarist.
"Turn These Island Earth": concluding track of over eleven minutes conceptually encompasses the intentions expressed by the entire album. The change of style and tempo is so rapid here that at the end, one has the impression of having no idea what was actually listened to. To be heard with headphones with as open a mind as possible.
The second CD, present only in the Special Edition, is not a disc with random elements inserted specifically to sell the special edition, as demonstrated by the first four instrumental tracks.
Four Winds: West, a track for acoustic guitar of immense beauty, justifies alone the existence of this extra disc.
Obviously not going unnoticed is the sweet orchestral melody of "Pieds Em l'air," or the amazing "She Said Maybe," while "Enter the Night" is the vocal version of "Riding the Colossuss" also known as "Depth Charge," an instrumental that Steve used to perform live a few decades ago.
Finally, with "Eruption Tommy," another guitar jewel is added, one of the many high music moments of this enchanting "Beyond the Shrouded Horizon."
The album concludes with a re-proposal of "The Air-Conditioned Nightmare" here retitled as "Reconditioned Nightmare" already heard in "Cured" from 1981, as well as in dozens of live performances.
We give our sincere compliments to Steve Hackett for his ability to always offer something unexpected and interesting, with a unique style that distinguishes him, placing him among the best "historical musicians" still around. Unfortunately, not many are left.
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