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www.markvickness.com [Release date 17.05.23]
“Sit back, pour a glass of your favourite tipple, and let this album wash over you.” That’s what I wrote about ‘Interconnected’ in 2020 making it one of my “best ofs” that year. And it could also be applied to ‘In The Rain Shadow’.
All the same ingredients are present that made that last album so listenable. The blend of violin, cello with infectious percussion is well demonstrated on ‘The Gorge’. Occasionally there’s a bit of Vickness’ electric guitar in the mix but – for the most part – as a bandleader he seems happy to sit back with his acoustic, colour the groove and let his fellow musicians carry the weight.
There’s also a filmic quality to some of the pieces. ‘Alluvial Fans’, for example, punctuated by Matt Renzi’s oboe and a fine orchestration with Joseph Hebert’s cello and Mads Tolling’s violin against the characteristic infectious rhythm and repeated motifs. And the folky, Celtic element present on ‘Interconnected’ (although not intrusive) crops up again in ‘On The Cliffs Of Mohr.’
A particular highlight is ‘Cloud Shadows’ a superbly reflective piece that should be the newbie listener’s first port in a storm.
The whole album has apparently been inspired by Vickness’ move to California’s Owens Valley in late-Lockdown and inspired by the meteorological changes he observed in the shadow of the mountains.
It is the skilful blending of instruments and insistent drone rhythms (Ty Burhoe and MB Gordy with Dan Fieszli, bass) that proves ultimately irresistible. Whilst the album again reveals Vickness’ classical and jazz background the tunes are always melodic and completely immersive.
The whole album rises above what might disparagingly be called wallpaper music. Not a lot happens admittedly – there’s a consistent and unbroken vibe – but it is a great listen that repays repeated listening. *****
Review by David Randall
Album review (Interconnected, 2020)
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