The Welsh multi-instrumentalist and songwriter Ian Jones has, over the past couple of decades, managed to amass a select, but extremely high quality, body of work that, in a fairer world, would lead him to be considered as one of the very best exponents of the progressive and symphonic rock genres. It is a real shame that his work has not reached the wider audience that it deserves, but those of us who are fans of his, and particularly of the band Karnataka, hold his discography in high regard. Karnataka has always been his main musical output, but there have been a few diversions along the way. His last release came in 2019, when the debut album by Chasing the Monsoon finally saw the light of day after a long gestation period. No Ordinary World (which I reviewed here) was the result of a collaboration between Jones and three other main musicians (largely, it seems, multi-instrumentalist Steve Evans) and it was one of my favourite albums of the year. While Karnataka is the better place to hear Jones' unfettered visions (particularly on the band's last couple of albums following the original line-up's 2004 split), No Ordinary World still showcased his influence and style in a big way. It was also the first new thing from Jones in four years, following the release of Karnataka's excellent fifth album Secrets of Angels (which I reviewed here) in 2015. With Karnataka once again undergoing a major split at the end of 2017, the band's sixth album became a distant dream. This is partly what made No Ordinary World so enjoyable, but it remains a very strong album in its own right - and not just a Karnataka album under released under another name despite some shared hallmarks. Jones is not exactly known for his speed when it comes to releasing new material, but this just makes each new album of his a more exciting prospect - which is helped by a constant high quality. It was something of a pleasant shock therefore when, earlier this month, Jones' latest album was released. Dark Horizons, the new album, is the debut release of Jones' newest project Illuminae - a collaboration between him and Polish singer Agnieszka Swita (Caamora). Swita, known for her work with keyboardist and Arena founder Clive Nolan, is a perfect foil for Jones. Her smooth, yet expressive, voice perfectly fits Jones' dense, sweeping soundscapes - but her voice also has some grit to it that allows for a few heavier passages to be thrown in. Illuminae was first announced by Jones back in 2017, and much of the album was recorded around then too - meaning that Dark Horizons has been in the works for a little while. Throughout the album Jones handles the bass, acoustic guitars, and majority of the keyboards while Swita handles the vocals; but the duo are joined throughout by a number of other collaborators. The main 'band' is rounded out by guitarist Luke Machin (Maschine; The Tangent; Kiama) and drummer Craig Blundell (Frost*; Pendragon; Steven Wilson; Steve Hackett) - but there are a number of other guests that are featured throughout that help to enhance Jones and Swita's creations.
If No Ordinary World showcased Jones' floatier, folkier side, then Dark Horizons focuses more on the dramatic. There are certainly plenty of hints to Karnataka's sound here, and in some ways the album feels like a natural successor to the more theatrical Secrets of Angels. Had Dark Horizons been released under the Karnataka name I doubt that there would have been too many complaints, but there are differences. Dark Horizons is probably the most gothic-tinged release that Jones has been involved in to date, but there is still plenty of progressive rock to be found too. The nine-plus minute opening track The Lighthouse possibly showcases Jones' classic progressive influences the most, but the sweeping arrangements that he has become known for ensue that the lengthy piece is still lush and melodic. The song is a bit of a slow burner, opening tentatively with atmospheric weather effects and the tolling of a distant bell, before a gentle piano melody cuts through the natural world. Swita's introduction is understated, her shimmering vocal lines accompanying the lone piano notes, but she soon opens up as Blundell's drums come crashing in - her voice becoming fuller and more siren-esque. The album's gothic tendencies are also clear from this moment on, with Machin's tough guitar rhythms some of the crunchiest that Jones has ever utilised. Machin is a known virtuoso in the modern prog world, but his playing throughout the album is largely quite restrained. His contributions to the album are key however, and when he does cut loose he always builds upon what Jones has laid down. Dark Horizons is not an album to focus on guitar wizardry, but The Lighthouse does benefit from an excellent guest turn from the legendary Steve Hackett (Genesis; GTR; Squackett), who's fluid solo perfectly adds to the track's floaty, yet dense, atmosphere. The Lighthouse is, in many ways, a perfect representation of the album's wider sound - darkness and melody co-existing perfectly. The song's chorus is the first of a number of earworms found throughout the album, and certainly harks back to Secrets of Angels with its accessible melodies. It also showcases what a great keyboard player Jones is, with some excellent synth work filling the song's second half. Blood On Your Hands ups the heaviness, and was the first song from the album to be released online. It is a track that builds on Karnataka songs like Poison Ivy, but takes the gothic/symphonic rock sound further. Machin's guitar rhythms are tough and crunchy throughout, while Jones' keyboard and string work provide the main hooks early on - with a dancing, gothic melody drawing the listener in. There is still plenty of melody however, with another memorable chorus bringing the best out of Swita. The vocal diversity found throughout this track is greater than that found in The Lighthouse too, with poppy melodies found during the chorus contrasting nicely with the ghostly harmonies and hard rock grit found elsewhere. The song is a great example of Jones' heavier songwriting style, and it is possibly the best example yet of a proper gothic rocker from him. He is helped in achieving this by Machin's presence, who's lengthy guitar solo is the perfect mix of controlled and chaotic - with lyrical lines sitting alongside wild shredded moments. Even Blundell includes the occasional burst of double bass drumming here, further adding to the heaviness of the piece.
Edge of Darkness is less heavy, but there is still a drama to the track that particularly allows Swita to shine. The opening two songs are much denser, both in a musical sense and in arrangement sense than Edge of Darkness, with the third cut here allowing the vocal melodies to shine in a bigger way. There is still weight to be found, with Jones and Blundell teaming up nicely for a pulsing rhythm, but this is a track which seems to favour the overall vocal arrangement more than anything else. This means that it is a song that takes a few listens to sink in because there are fewer musical hooks, but that does not make it any less powerful. It is still packed with the album's core musical themes, but the drama and variety in the arrangement gives way to more of a constant atmosphere that allows Swita to take the spotlight throughout. Lullaby is similar, but goes for more of a ballad-esque approach with gentle keyboard melodies and breathy vocals. Troy Donockley (Iona; Nightwish), a regular contributor to Jones' albums, adds some delicate whistle lines throughout the song's early stages, which are a perfect contrast to Swita's emotionally-charged vocal lines, but his main contribution is felt later on with an aching uilleann pipe solo that perfectly cuts through the mix of dancing percussion and keyboards with its distinct and mournful sound. Donockley's pipes seamlessly morph into Machin's guitar, who continues the solo, before the two join forces to create a sound that sounds like something akin to a whale - while the song joyously comes to a close with some tribal wordless vocals and Blundell's percussive drumming. Twice opens with some swirling organ and Swita's vocals; but it is not long before a simple drum beat kicks in and the song morphs into some gothic-tinged pop rock. It is song that sounds quite different to the rest of the album, but there are still some of the same hallmarks present. It is certainly not as dense, but the keyboard backing helps there to still be a strong atmosphere throughout - with the organ giving the song a more organic feel than the synths and strings used elsewhere would have. The standout performer here for me however is Jones, who's bass is an ever-present force throughout. Outside of the organ, the bass is the most prominent musical feature here. Machin's guitars are essentially just a background presence this time, with the bass pushed to the fore to add subtle melodies and grooves throughout - highlighting the song's poppier nature.
Heretics & Prophecy is very different from Twice however, as it really doubles down on many of the gothic ideas found throughout the album. It is not the heaviest of tracks here, but atmosphere-wise the song is extremely dense. The early string arrangements and hollow acoustic guitar melodies are the perfect backing for Swita's Eastern-tinged vocal melodies; while Donockley once again adds some magic to the track in the form of some demonic-sounding pipe melodies - which sound more twisted than they ever have done previously. Their presence fits perfectly, and act as a great contrast to the layers of string and acoustic guitars. This song is easily the most gothic that Jones has ever sounded, but it also sounds like a natural continuation of experiments with the gothic that he has undertaken over the years. The inclusion of some Latin lyrics throughout only reinforces the song's gothic nature, and shows how much has gone into presenting a quintessential gothic experience throughout the track. Sanctuary returns more to the album's core sound, with a style akin to Blood On Your Hands featuring a driving hard rock sound, enveloping strings, and plenty of hooky vocal melodies. For me, these are the sort of songs that Illuminae seem to really excel at. I love the mix of heavier rhythms and sultry melodies that these songs possess, and Sanctuary arguably shows Swita at her most strident. There is some real hard rock grit to her performance here, but there is still a shimmering, symphonic edge to be found - particularly during the choruses. Black Angel continues on this foray into the album's core sound, but the heaviness is slightly stripped back, especially early on, to allow the grooves and atmosphere a little more prominence. Jones' bass is once again quite high in the mix, with his rumbling playing really driving the track's early initial moments. That is not to say that there is no crunch at all, as Machin's big power chords are utilised throughout the bulk out the song - but they are deployed more sparingly this time around, which allows them to a much great impact when they do stab their way through the mix. This back and forth between the guitar and bass gives the song its identity, but some Nine Inch Nails-esque programmed beats also add a unique twist to the piece - creating something of a strange breakdown that works really well.
The penultimate track Sign of Infinity is the album's second ballad, and it also features the last two of the album's guest performers. Gonzalo Carrera (Karnataka) plays the piano throughout, his rolling melodies mixing in perfectly with Jones' acoustic guitar and stings, while saxophone lines are added by John Helliwell (Supertramp). Jones has flirted with saxophones previously, most notably on Karnataka's 2000 album The Storm, but they are not a regular part of his repertoire. Helliwell's contributions to the track really make it what it is however, and he is easily the standout performer here. Rather than the jaunty melodies he become known for with Supertramp, his playing here has something of an old-school smoky jazz feel - which suits the dense ballad perfectly. This is another song that takes a few listens to fully appreciate, as there is a lot going on musically, but once everything falls into place it really clicks. The constant piano lines have a real wave-like quality to them, while Helliwell's saxophone brings everything together with its gentle, yet booming, melodies. The album closes as it opens, with a lengthy track that showcases Jones' love of a progressive arrangement. The 11-plus minute title track also opens slowly, with strings and programmed beats providing a dense backing for Swita's early vocal forays - bringing Karnataka to mind in the process. As mentioned earlier, there is a lot of Karnataka to be found throughout this album but it is perhaps this track that best channels the sound of Jones' day job - with a sound akin to a mix of 2010's The Gathering Light and Secrets of Angels present throughout. Even Swita's vocal melodies here are very similar to Karnataka's usual approach, so much so that it makes me wonder whether the song was originally written with Karnataka in mind. The song even builds slowly and organically, akin to the title tracks of both The Gathering Light and No Ordinary World - once again showing Jones' progressive and distinct long-form writing style. Despite great work from both Jones and Swita throughout the track however, the star of the show this time is Machin. His playing throughout the album, as mentioned earlier, is largely quite restrained, but his solo here is fantastic. It is the longest guitar solo of the album by a long way, and the dancing melodies perfectly represent the song's more atmospheric scope. There is a certain nonchalance to parts of the solo, but each note counts - and they allow the more cutting phrases hit even harder. It is easily Machin's best moment on the album, although a second, short solo towards the end of the song really elevates the album's closing moments - and allows for a final reprise of the chorus to hit home with all of its regal grandness. It is a perfect closing statement for the album as a whole too, and it reinforces what an enjoyable listen Dark Horizons is. It is unclear yet whether or nor Illuminae will be a one-off collaboration or the start of something more long-lasting, but either way Dark Horizons is a triumph and another fantastic entry into Jones' canon. There is so much to enjoy here, and the variety here ensures that new discoveries are made with each listen. While I am sure that Jones will now turn his attention with Karnataka's sixth album and the band's recently-finalised line-up, fans of his will be kept satisfied with Dark Horizons and all of the gothic goodness that is contained within.
The album was released on 12th February 2021 via Immrama Records. Below is the band's promotional video for Blood On Your Hands.
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