Fauna: Mediabook＜完全生産限定盤＞

モダン・プログレッシヴ界を代表するバンド=Haken(ヘイケン) 約3年ぶり通算7作目となる新作『Fauna』

2007年ロンドンにて結成された6人組プログレッシブ・ロックバンド、Haken(ヘイケン)。2010年のデビュー以来、これまでに6枚のスタジオ・アルバムをリリース。モダンメタルと70年代のプログロックが、極上のメロディーを備えつつエピカルに融合したサウンドが特徴的。今最もモダンプログロック界で勢いのあるバンドである。約3年ぶり通算7作目となる今作『Fauna』は、14年前に学業優先のため脱退したピーター・ジョーンズ(key)の復帰第1作となる。
アルバムタイトルの『Fauna』(ファウナ)は「動物相」の意で、特定の地域や時代に生息する全動物を総称する表現。「俺たちが曲を書き始めたとき、曲ごとに動物を1匹割り当てることを前提にした。」という通り、コンセプチュアルなアルバムに仕上がっている。きしむようなヘヴィ・メタルのコード、クリーン・ギターのピッキング、意気揚々としたコーラス、躍動感あるベースライン等、ヘイケンの真骨頂が見事に凝縮し、新たに昇華された快心作。
2枚組メディアブック仕様 (CD2にはアルバム全曲のインストゥルメンタルを収録)。

Haken released Virus in July 2020 after being forced off the road due to the COVID-19 pandemic. For Haken it proved especially frustrating, as the unnervingly titled Virus (recorded before COVID) was a direct conceptual sequel to 2018s Vector. There was nothing to do but stay home and write. The members of Haken set parameters for one another as songwriters: Each song was assigned to an animal and reflected the subjects interaction with the human world. Following the departure of keyboardist Diego Tejeida in 2021, Haken re-enlisted their original keyboardist Peter Jones, who had played on demos before leaving for an academic career. Jones, a restless electronic explorer, and guitarist Richard Henshall played in Nova Collective together and released 2017s Further Side for Metal Blade. Jones adventurous sonic palette adds immeasurably to Hakens progressive metal approach on Fauna. Hes not as interested in atmospherics as Tejeida was, hes more directly vamp- and riff-oriented, and loves to experiment with intricate chromatics. Opener "Taurus" (one of four advance singles) is introduced by weird, clanging synth sounds before the band enters with a monstrous djent riff and shapeshifting rhythms, resulting in a melodic, hooky chorus. "Nightingale" commences with an electric piano before bird song, electronics, and the band enter. Juxtaposing power chords with syncopated time signatures and a jazz-inflected melody, it all commingles in the explosive chorus and a vocal bridge that borrows from Gentle Giant. "The Alphabet of Me" is a set highlight. One of the most purely progressive tunes in the bands catalog, it offers interlocking harmonics and rhythms in slippery cadences held together by Ross Jennings multivalently stacked vocals underscored by a multi-voice choir and synth/guitar interplay in the bridge. The tenderness and wonder expressed in it contrast beautifully with "Beneath the White Rainbow." The latters polytonal riffs from Henshall and Charles Griffiths introduce an angular, almost subliminal melody. Jones guides drummer Raymond Hearne and bassist Conner Green, employing elastic tempos and key changes, syncopated polyrhythmic pulses, and contrasting sonics. Jennings effortlessly adjusts and resonates with each change in musical direction. While "Lovebite" explores new wave-ish 80s terrain, its interchangeable guitar, keyboard, and vocal hooks extend its reach. At nearly 12 minutes, "Elephants Never Forget" is the sets longest track. It is actually suite-like, stacking cadences, tonalities, modes, textures, and dynamics -- and solo spots -- that flow into and out of one another dreamily. Its staccato vocal sections recall Gentle Giants Free Hand. "Eyes of Ebony” commences as a staccato guitar ballad with both players in intricate, staggered interplay as Jennings voice juxtaposes the white rhino’s near extinction with the death of Henshall’s father in an extended metaphor. The band stretch the chromatic harmony. Green’s dubby bassline guides the guitarists and Jones as Hearne accents, counters, and fills the remaining space. Fauna is often dazzling in its kaleidoscopic, intricately detailed weave of prog, djent, and metal. The phenomenal easter egg-laden cover art by Dan Goldsworthy underscores the abundant quality on offer here. ~ Thom Jurek