Iona - Open Sky (2001)

Artista: Iona
Álbum: Open Sky
Año: 2001
Género: Rock Progresivo Sinfónico Celta (!!!)
Nacionalidad: Británicos
Duración: 74 Minutos

Lista de Temas:
1. Woven Cord (9:28)
2. Wave After Wave (6:15)
3. Open Sky (5:39)
4. Castlerigg (9:25)
5. A Million Stars (3:19)
6. Light Reflected (5:11)
7. Hinba (4:57)
8. Songs of Ascent (Part 1) (7:58)
9. Songs of Ascent (Part 2) (9:06)
10. Songs of Ascent (Part 3) (4:52)
11. Friendship's Door (7:14)

Alineación:
- Joanne Hogg / Voz líder, piano y teclados
- Dave Bainbridge / Guitarras acústicas, eléctricas e 'indias', e-bow, teclados, programación, piano, bouzouki, autoharp y voz.
- Troy Donockley / Flautas y gaitas (uillean pipes, low whistles, tin whistle), voz , guitarra acústica, e-bow, bouzouki, mandola portuguesa y harmonium.
- Phil Barker / Bajo
- Frank Van Essen / Batería, percusión, voz y violines acústicos y eléctricos.drums

Invitado:
- Billy Jackson / Arpa celta y clarsach

Hola. Vuelvo a aportar algo por acá, antes de que me consuma, devore y ultraje la culpa (?)

Iona es una banda británica, que anda dando vueltas desde finales de los '80 hasta el día de hoy. Toman su nombre de una pequeña isla cerca de la costa escocesa con bastante significado mitológico, debido a que en ella varios reyes escoceses, irlandeses y noruegos fueron enterrados luego de su muerte.

Son una banda que considero prácticamente única en su especie, por el sonido onírico y espiritual que logran, mezclando música celta con el progresivo sinfónico, pero con el mejor resultado que jamás haya escuchado, superando ampliamente (al menos en este disco) a grupos de sonido similar como Karnataka o Mostly Autumn.

Open Sky es su quinto álbum de estudio (de siete lanzados hasta el día de hoy), en el cual (aparentemente) se relata la historia de "Columba, quien vio al Espíritu en la isla de Hinba durante tres días y noches, en las cuales permaneció en soledad y en ayunas dentro de una cabaña, y aún así, rayos de luz inmensurables se podían ver brotando por la cerradura y debajo de la puerta de la cabaña, y Columba podía ser oído entonando cánticos espirituales que nunca antes habían sido escuchados" (sic).

Dije que eran espirituales? Espero que con lo anterior haya quedado claro.

Desafortunadamente para algunos, no tanto así para otros, Iona decidió pegar el salto creativo de Neal Morse, para pasar de hacer música con letras llenas de contenido espiritual para proclamar abiertamente que "Jesús es el señor" (sin dejar de lado el buen gusto musical, por suerte), con chequear el último disco de estudio pueden darse cuenta fácilmente de esto. Pero igual, para aquellos proggers que ven a la religión como un dedo en la llaga, un lego en el piso (bue, me explico?) no se alarmen que en este disco no hay nada por lo que alarmarse, porque no hay signos de proselitismo alguno por acá, esto es un colectivo que llega hasta al cielo y no corre con Gasoil religioso (?).

Pero volviendo a Open Sky, uno va a encontrar un amalgama de lo mejor de bandas como Yes, Renaissance, Pink Floyd, Enya y Clannad.

La instrumentación es espectacular, pero son para recontra destacar la batería de Frank Van Essen, la guitarra Gilmourezca-Holldsworthiana de Dave Bainbridge y los miles de sonidos que logra Troy Donockley entre cuerdas, gaitas, flautas y silbatos. Y por sobre todo, la voz de Joanne Hogg, heredera de Enya y Annie Haslam podría decirse, que puede llegar a llevarnos a la isla de Hinba de un momento para el otro.

Y que lo de música celta no tire a nadie para abajo, sino todo lo contrario: no es pedorrada new-age esto, es rock progresivo sinfónico de alto vuelo, con cambios de ritmo, compases impares y todo. Canciones como el espectacular instrumental Woven Cord o la fantástica Wave After Wave (donde Joanne Hogg hace su primer aparición) por dar dos ejemplos son la mejor prueba de ello.

Dejo reseñas de gente más verborrágica, en ínglish:

"Open Sky" is another glimmering prog island (the mystical Iona ,off the coast of Scotland, became a holy island where several kings of Scotland, Ireland & Norway came to be buried) that deserves intense praise, mostly due to the beguiling top-notch musicianship displayed by all members.

Guitarist Dave Bainbridge is a personal favorite (his 2004 solo album Veil of Gossamer is an outright masterpiece), displaying a sense of Holdsworthian tone and atmosphere that has become so rare, bassist Phil Barker is remarkably fluid and inventive, in synch with drummer Frank Van Essen who clearly masters the percussive thumps and whacks that propel these dreamy tracks ever so forward. But the Irish/Celtic strain that defines Iona's music since their early years is entrusted to the genius of Troy Donockley (perhaps a future Chieftain?), breathing life and spirit into his Uilleann pipes, his arsenal of low & tin whistles, adding bouzouki and Portuguese mandola (the Celts traveled extensively through the Mediterranean before settling in Eire and Scotland ). Vocalist Joanna Hogg has a voice that would make any Celtic fan blush with envy (on par with Maire Brennan, Enya or Loreena McKennitt).

The tantalizing instrumental opener "Woven Cord" sets the tone for the musical journey, a heartfelt piece of passionate beauty that gives each band member the opportunity to shine, with Van Essen in a particularly creative zone. The tunes tumble serenely one after another , "Wave After Wave" being another pearl of exquisite sheen with Joanna in fine form , the title cut gently caressing the soul much like a New Hebridian breeze and the monumental "Castlerigg", an outright tour de force that captures one's attention immediately, hypnotized by its sinuous Gallic charm. Both Bainbridge and Donockley shine oh so brightly. "A Million Stars" is another instrumental winner. A massive 3 part 21 minute suite entitled "Songs of Ascent" is the terrific epic that elevates this release to the highest levels, bewilderingly beautiful, pristine and subtly soulful. The finale "Friendship's Door" is a playful exaltation of joy and hope that would please even Beethoven (unfortunately, he was deaf after all and is now long deceased).

While many seem to stress the "Christian" philosophy behind this group, (I for one have separated Music and Religion- the Audio Magna Carta or Dub- Edit de Nantes- a long time ago) the truth is that any attempt at conversion is quite low key and has not even the slightest hint of obtuse preaching. In fact, Iona is more spiritual than religious and does not stop the proceedings to be heavenly!!!! Iona has the pedigree of the finest progressive groups, ,easily the leading light in terms of prog-folk ,with a solid back catalogue, recent live DVDs, an excellent 2006 release "The Circling Hour" and an obviously very bright "Open Sky" future. This is an unabashed masterpiece: 5 island jewels.

- Tszirmay - ProgArchives

Transcendent: 1. Lying beyond the ordinary range of perception. 2. Being above and independent of the material universe. Used of the Deity. 3. Iona's "Open Sky" album. Okay, so I added that third definition on my own. I couldn't help myself. It's the most descriptive word I can use for this glorious CD. As I have written in other reviews of their works, this group creates music that is different in many, many ways from other forms of progressive music and requires the listener to slow his/her pace down a notch or two as to allow one's spirit to escape the fetters of gravity for a while. It may be just the antidote needed when the troubles of the world press in on your soul and rob you of hope.

I find that a fair review of this album necessitates delving into the realm of creative imagery, so bear with me, if you will (and be prepared for a plethora of adjectives). As the powerful "Woven Cord" begins imagine that your soul is in the cockpit of a space shuttle, looking upward from the launching pad. An early-morning fog slowly dissipates and you are cleared for liftoff. Roiling drums and piercing Uilleann Pipes erupt as the engines ignite and you jet upwards into open sky. The torrid velocity is exhilarating as you climb away from the earth, then a leveling off period ensues and you finally get a chance to take in the vista of being miles above the planet, accentuated here by Dave Bainbridge's blazing electric guitar ride. But then the second-stage booster kicks in and you ascend once again to the sound of Troy Donockley's pipes until you've achieved a lofty orbit. It took a lot of thrust to get there but it's been a fabulous ride so far. However, you soon realize that there's no shuttle at all. You are free to explore space without hindrance.

A violin and a combination of acoustics and various guitar-like instruments (They employ e-bows, bouzoukis, Indian guitars, autoharps and Portuguese mandolas at one time or another so take your pick) usher in the gorgeous "Wave After Wave" as Joanne Hogg's angelic voice dances deftly over deep keyboard-generated strings. "Wave after wave rolls in/and the line is gone/where my feet have been" she sings. Drummer Frank Van Essen and bassist Phil Barber provide a powerful rhythm track underneath and the song has a stirring, "traveling" bridge. The tune reaches a peak and they wisely allow the momentum to resonate in its sheer power for a few bars before dropping down to let Joanne sing the last stanza alone. While floating in the sublime aftermath of that song "Open Sky" begins and this lovely ballad gently pulls you even farther away from the world. Hogg's soft vocal is surrounded by pristine instrumentation as she reminds you that your unique personality is "the gift of life/the essence that can never die." These two songs are so exquisite that, for a moment or two, you may think you've landed on a sublime plateau of pure love. I can only pray my words do them justice.

"Castlerigg" opens with a lone Irish whistle whispering out from a cavern of sound, then a wall of Uilleann Pipes scorch the air and I can visualize an army of kilt-clad soldiers marching boldly across a wide meadow on their way to battle some terrible injustice. It's a wonderful assault on the senses that eventually descends to just violin, acoustic guitar and Joanne delivering a short verse before the whole thing launches back into the furious procession, this time riding a strong rock beat that drives the number hard to the end. The instrumental "A Million Stars" follows and here Van Essen's sweet violin sets a hypnotic and serene mood atop Bainbridge's lush keyboards. It's 3 minutes, 19 seconds of bliss. A slow, mesmerizing groove travels beneath Hogg's voice on "Light Reflected" wherein she sings "Light of light eternal/light my way for me." It's one of the most comforting tunes I've ever heard. The aura the band develops on this cut wraps around the listener like a warm coat on a cold winter's day, then drifts away peacefully.

Next is a pretty song written by Joanne called "Hinba" in which the pipes and violin intertwine and compliment her crystal-clear tones, setting you up for the three parts of "Songs of Ascent" that are truly out of this world. Beginning with what I can only describe as celestial cascades of distant orchestral strains swirling in the ether, this must be what heaven sounds like. Fluid whistle melodies arrive, preceding Hogg's delivery of poetic lines like "here in the purest light of the heavens/mysteries revealing/in songs that surround me/an emptiness for You to fill/my soul a cavern for Your sea" as the music gradually intensifies around her. The second movement features guest Billy Jackson on Celtic harp as he joins into a symphony that is constantly changing/evolving into a fantastically dense atmosphere, then comes to dissolve into mere whispers. Soon a wall of music emerges to overtake you and eventually a supernal melody descends on your spirit, soothing like a mother's caress before building to a satisfying crescendo. In part three Joanne's voice bounces wordlessly in and out of a scattering of notes, then becomes part of a kaleidoscope of colors as a beat pattern gathers momentum below it all before eventually bursting out with Troy's pipes warbling spectacularly. All I can say about these 21 minutes of paradise is "Hallelujah."

How they can follow up such an achievement is beyond my comprehension but they do just that on "Friendship's Door." Hogg's disembodied vocal hovers over droning keyboards like a magical apparition. Never a group to get in a hurry, they allow their splendid creation to breathe and exist on its own plane without needless embellishment. When Donockley's pipes come in playing the melody it's so elegant and resplendent that it nearly breaks my heart. The track ends with an intriguing collage of disjointed musical excerpts that are quite dream-like as they fade into space. It's almost as if your soul is walking the bridge across forever and it's looking back for one last glimpse of earth. As Joanne states in the chorus, "these are some of the things/that take my breath away." Amen.

I didn't believe Iona could ever top their immaculate "Book of Kells" album but I was wrong. This is as good, if not better. But that's like comparing diamonds. I sincerely hope there are other proggers out there who can and will enjoy indulging their spiritual senses and bathing their minds in the superb goodness of "Open Sky" as much as I do.

- Chicapah, ProgArchives

No tengo demasiado más para decir, (ni tiempo para plasmarlo por acá, sepan disculpar). Open Sky es una maravilla del nuevo milenio que no puede ser pasada por alto. Prometo no defraudar. Viene con el Conejo Seal Of Approval

Literalmente.

Ah, me olvidaba, muestras gratis! Son en vivo, del disco/DVD Live In London: