01	Isle of Eight						25:34
	02	Total Eclipse						27:10
	03	Return to the Northern Wasteland						12:58

Colin Masson
Isle of Eight

Headline (HDL 505)
UK 2001

Colin Masson, electric, acoustic, classical, and 12-string guitars, bass, recorders, keyboards, percussion, trombone, drum programming;
with Cathy Alexander, vocals, keyboards; Ryan Masson, random noises

Tracklist:
1. Isle of Eight — 25:32
2. Total Eclipse — 27:06
3. Return to the Northern Wasteland — 12:56

total time 65:43

conrad

Colin Masson is the lead guitarist from the folk-rock group The Morrigan. This band are quite good at folk covers and reworkings of medieval pieces, aided by Masson's Oldfield-style guitar. They tend to be not quite as impressive when performing original pieces, however, so my expectations of this album were not too high.

As it turns out, Masson's guitar style isn't the only thing he has in common with Mike Oldfield. Like Oldfield, Masson is a lot better at writing long, mostly instrumental pieces than more standard song structures. Isle of Eight borrows heavily from Olfield both in terms of sound and songwriting. The tasteful blend of modern instruments gives the album a feel very much like Amarok without the world music.

Fellow member of The Morrigan Cathy Alexander adds her vocals and some keyboards to what is otherwise a Colin Masson multi-instrumental extravaganza (feel free to draw another Oldfield comparison here). While I'm sometimes ambivalent about Cathy Alexander's voice, she is quite good here, mainly because she sings music appropriate to her style of voice.

Masson has a good feel for atmosphere, and moves naturally from one mood to another: from solo acoustic guitar and lush keyboard backgrounds to various styles of electric guitar, and even to an ominous section which sounds to me like it uses a sequencer. About the only time he missteps is when he tries to get too heavy, in these moments he sounds too controlled to pull it off convincingly. The fact that Isle of Eight is so much like Mike Oldfield, except for one riff which I swear is taken from "Raising Steam" by Jethro Tull, will put off some people. However, the truth is that this album is very close to the quality of Oldfield's best albums, and is done in the style of his that I appreciate most. If you don't mind clones, provided that the quality is there, and you like Mike Oldfield, then this album is a definite must.

review by Conrad Leviston — 9-29-05

brandon

The obvious comparison here, in terms of composition and style, is Mike Oldfield: Masson's debut solo album is made up of three really long tracks, the first two of which consist of a large number of themes put together, some of them building slowly, some of them popping up suddenly and dissolving into new themes just as rapidly. Masson, like Oldfield, is a multi-instrumentalist, playing virtually everything on the album, but with a particular focus on guitars - mostly electric, but there are several themes which make good use of some very pretty acoustic guitar melodies.

All right, so the concept isn't that new: what about the music? Well, it was a pleasant surprise for me to find that Masson's compositions are solid, his themes are melodic and emotional, his playing is competent, and overall, things work out very nicely. The first track is generally upbeat, with a few more imposing guitar themes here and there, but the majority of the themes have a sort of folky, jaunty feel. A brief vocal section reinforces this feel: the music here becomes a bit simplistic, but it is very catchy, with nicely pulsing bass moving things along and an almost ska- or reggae-like keyboard motive poking away happily. After the vocal section, the second half of the piece is a bit forgettable, but nice enough anyway.

The second piece is probably the best on the album; it's darker, with more aggressive and edgy electric guitar work, which is juxtaposed with some really beautiful acoustic playing. The whole piece in general is a bit more coherent than the first. As a sort of random note, there's a keyboard melody in here that strongly resembles the atonal intro to A"nglaga*rd's "Jordro"k". The closing track starts off with a strong Tangerine Dream vibe, and in general has a bit more overt electronics use in its instrumentation. It's also differentiated from the other two pieces in that it consists mostly of just one or two themes that develop slowly, rather than a patchwork of lots of themes. The album ends on a strongly positive note, a sort of return to the attitude of the title track.

Fans of Oldfield will likely enjoy this album. Isle of Eight is chock-full of catchy melodies and tasteful guitar playing, and I found myself enjoying it quite a bit. Some may find it a bit technically simplistic, but I would recommend it anyway.

review by Brandon Wu — 9-15-01

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Album cover
Colin Masson - Isle Of Eight
Artist: Colin Masson
Title: Isle Of Eight
Label: Headline HDL 505
Length(s): 65 minutes
Year(s) of release: 2001
Month of review: [06/2001]
Line up
Colin Masson - guitars, bass, recorders, keyboards, percussion, trombone and drum programming
Catchy Alexander - vocals on 1 and 2, additional keyboards on 3
Ryan Masson - noises on 3
Tracks
1) Isle Of Eight 25.32 MP3 or RealAudio
2) Total Eclipse 27.06 MP3 or RealAudio and another one MP3 or RealAudio
3) Return To The Northern Wasteland 12.56 MP3 or RealAudio
Summary
Three long tracks by a member of the Morrigan, recorded in 1998/1999 and now finally released.
The music
Two very long and a somewhat shorter track on this disc. The first and title track opens slowly and peacefully: flute, fragile and soothing, acoustic guitar strumming and then a waltz theme, very much in the electric guitar style of Mike Oldfield. Although there is not much more to it, the music evolves really well here, with a few low bass tones here, some soft male voices in the back, but also quite a bit of relaxed tones on the keyboard. Later on we get a bit more power with sharp, punctual guitar playing, but once in a while the folky influences of this man shine through. Not as often, though, as you might expect. The music continues to be in the vein of Mike Oldfield, and to me certainly not less in this than him. Around the seven minute mark (I guess I'll have to keep you up to date to where we are in this way), we come to classical guitar with folky flute. Around the ten minute mark we have more spacey guitar playing, still owing a bit to the vibrating sound of Mike Oldfield's guitar. The female vocals that follow next are almost reggae like, but do not strike me as odd at all here. The music continues to be melodic enough. Although...maybe it is a bit too melodic even with its playful synthy strings. Around 16 the music dies away a little to start all over with acoustic guitar. The music is a bit jig like, with hands clapping. Then we break into something more classical sounding, but still dance like. The church organ that follows later evolves into something clear and triumphant. Then the music does not really take it up yet, rather it tends to go on a little to end up first in some flutish stuff. Although the music has a triumphant ring, it could have been brought a bit more powerful I feel, the drums don't really yield the energy they should. We are almost at the end of this epic now, where the electric guitar again plays its Oldfieldian lead in a folky/celtic fashion. This is more or less how the song ends.

The second track is even longer. Total Eclipse opens like its predecessor with acoustic guitar. Quite nice melodies here. The song gets underway very slowly. It does not differ much in the methods and sounds used from the previous track, but the screaming, triumphant eruption followed by the eerie guitar comes as a big surprise. I am thinking a bit of Landmarq here for some reason. Back to moodiness now with fast repetitive dark acoustic guitar and low sounds throughout. The keyboards tinkle softly, a bit menacingly in the back. After its rather calm start, the waters that are stirred in this track are darker and deeper. The folkiness is still in here but in a much tenser form and I like it the better for it. The percussion also has a stronger drive. Still Oldfieldian in style, the music is more varied, is more emotionally laden, and on the whole takes the listener along for the whole length of it. You only have to listen to the build-up round the 17 minute mark and you know what I mean: here's some eerie soundtrack music with strong dark notes on the guitar. Again I am reminded of the recent epics on Landmarqs disc. The guitar gets to be quite heavy and freaky now. Quite dissonant. Slightly after the twenty minute mark the music seems to get back into a more folky, a lighter vein, but this is not the case: the guitar continues to drive you on remorselessly. The vocal part that finally comes, almost at the end, is quite similar to Jon Anderson's. It is only short and followed by some driving rhythm guitar, solo electric guitar and dark organ, with a few classical influences in the synth melodies. Truly a grand epic.

The third and final track opens with keyboards. The undercurrent of this opening is a bit in the style of Tangerine Dream, quite a bit of sequencing and a slow but sure build-up to something. The folkiness and merriness does return to this track, but with burpy bass beneath it. The song ends triumphantly again. Again a great track with strong build-up.
Conclusion
What is most striking perhaps about these songs is that notwithstanding their length they stand up. Even the opener, which is weaker/less likable than the second even longer track, does not tire. I simply like the darker tones of the second epic track much better and I also feel stronger emotion, a better drive. For Oldfield fans an album that should not be missed. Even or maybe especially if you find that Oldfield has not recently done anything worthwhile, sample and savour. I think you will not be disappointed.

© Jurriaan Hage



Colin Masson - Isle Of Eight
Colin Masson - Isle Of Eight
Released: 2001
Label: Headline Music (Hi-Note)
Cat. No.: HDL 505
Total Time: 65:24


Reviewed by: John "Bo Bo" Bollenberg, August 2001

Firmly rooted in the classical folk tradition Colin Masson (who is also a member of the folk band The Morrigan) has used his multi-instrumental strength and inspiration to spread over three lengthy tracks. The occasional use of recorders certainly highlights the atmosphere of this album. Add to this the typical guitar style and you immediately land yourself in the Mike Oldfield back garden. Although the drums are programmed, they rather sound OK, which doesn’t happen a lot in these cases. Colin’s acoustic guitar playing, combined with the use of the recorder, certainly creates a medieval feel to the music. After Cathy Alexander’s (also from The Morrigan) guest vocal, the title track speeds up, unleashing freaky guitar sounds. Towards the end it’s as if Gordon Giltrap steps in to help a hand. In fact I can easily see myself in rural England enjoying a good pint of the local brew and a ploughman’s lunch whilst this music keeps me amused.

There’s a mixture of Bert Jansch, Gordon Giltrap and John Renbourn to be found in the acoustic intro for "Total Eclipse." Once again the fragile nature of the music is extra underlined by introducing sparse recorders. "Return To The Northern Wasteland" starts with sequencer loops and dark sounds as if thunder and black rainy clouds are packing over the Masson flagship. This Colin Masson solo album sounds as if the best bits out of Tubular Bells, Hergest Ridge and Ommadawn have been mixed together and spiced up with extra folk elements. Isle of Eight is a nice album that sadly will not sell millions of copies as there will always remain a big gap between Masson and the real Mike Oldfield!

[See also Steph's review - ed.]


Colin Masson - Isle Of Eight
Colin Masson - Isle Of Eight
Released: 1999/2001
Label: Morrigan Music / Headline
Cat. No.: HDL505
Total Time: 65:24


Reviewed by: Stephanie Sollow, February 2002

Colin Masson's Isle Of Eight is a full-length work consisting of three tracks, the first two 25+ and 27+ minutes, the third lasting 12+ minutes. Masson's sound is one part rock, one part Celtic. There is plenty of stunning guitar work here -- and being one who loves guitar, well, I was in heaven listening to this. Masson is multi-talented however, playing, in addition to a variety of guitars, recorders, keyboards, percussion, and trombone. He's also responsible for the drum programming. And the album's artwork. And engineering and producing.

The tapestry of sound that Masson weaves will appeal to a wide assortment of progressive music fans, as there parts that made think of Yes and of Howe in particular, for example. Though one will also hear some Wakeman-like keyboard passages in the title track, which launches this album. Marillion (and Rothery in particular) also came to mind.

Everything flows together nicely, taking you on a journey. On "Isle Of Eight" alone, Masson contrasts pastoral and calm passages with heavier, and darker, rockier, passages. There are classically styled passages as well -- again, all this flows together quite smoothly. There even comes a point where I thought of classic Queen, mainly in that the guitar tones Masson uses for the energetic rock passage are similar to those oft used by Brian May. This is followed by a delicate, warm acoustic guitar passage -- vague hints at Jethro Tull (but maybe it's me).

Vocals on this track are courtesy Cathy Alexander, who has rich voice that is a cross between Maire Brennan, Mary Black, and Christine McVie. They are delivered in a hazy way, which I think of as being very Alan Parsons-like (in the manner of, for example, "Time").

"Total Eclipse" is the second track, which begins acoustically -- in a manner very much like Harry Chapin's "Cat's In The Cradle," but it fairly quickly takes on a very Celtic aspect. It is light and ethereal, spritely in a springtime kind of way. This builds up to a very..."prog like" epic feel. Here again, Yes is a very good comparative example, sans the vocals of Anderson ... except that when the vocals do come in, Alexander does sound a bit (perhaps a lot) like Anderson. Elsewhere there are passages that have a Mannheim Steamroller quality, others that are much darker, heavier on the percussion and keys. Masson throws in a variety of other moods and textures as well - swirling keys, screaming guitar leads, driving drums and percussion. Or how about some raw and edgy classic Rush-like atmospherics? Masson runs the gamut.

"Return To The Northern Wasteland" is the final track is more along the lines of 90s Eloy, as the punchy percussion and heaviness here made me think of that band's Destination CD. And yet, some of the atmospheric bits that begin the track and reappear are almost Tangerine Dream-like. It's reminiscent of a lot of synthesizer rock created to accompany those computer animation videos (such as the Mind's Eye series of a decade or so ago). Here the drums seem the most synthesized, that too perfect repetitiveness that few (if any) live drummers can duplicate (and would we want 'em to?). Latter-day Pink Floyd also come to mind, mainly down to the shimmering guitar passages that have a Gilmour-esque quality about them. Is there any classic prog band that Masson doesn't seem to reference, even if by coincidence? (Well, yes; Crimson, ELP, and Genesis don't seem to be).

Overall this is a stellar release, its 60+ minutes moving by rather quickly. There may be only three (long) tracks, but Masson packs quite a bit in there, all of it worthy of attention. Recommended.

[See also Bobo's review - ed.]

More about Isle Of Eight:

Track Listing: Isle Of Eight (25:32) / Total Eclipse (27:06) / Return To The Northern Wasteland (12:56)

Musicians:
Colin Masson - electric, acoustic, classical and 12 string guitars, bass, recorders, keyboards, percussion, trombone, drum programming
Cathy Alexander - vocals (1,2), additional keyboards (3)
Ryan Masson - "random noises" (3)

Contact:

Discography

* Isle Of Eight (1999/2001)




Colin Masson - Isle Of Eight

Country of Origin: UK
Format: CD
Record Label: Headline/Hi-Note Music
Catalogue #: HDL 505
Year of Release: 2001
Time: 65:45
Info: Hi-Note Music
Samples: Hi-Mote Music
Tracklist: Isle Of Eight (25:32), Total Eclipse (27:06), Return To The Northern Wasteland (12:56)

Recorded during 1998/99 at Greenacres Farm in Wiltshire, Isle of Eight is the first solo album from Colin Masson, who is no stranger to the world of progressive rock, being a member of one of the foremost progressive folk-rock bands in circulation, The Morrigan. Regarded as an excellent guitarist as well as a multi-instrumentalist, Masson demonstrates his musical capabilities on this album, which though only containing three tracks, runs at over one hour in duration.

Musically this album resembles in more ways than one the musical output of Mike Oldfield especially with Masson's ability to fuse folk elements, especially Celtic ones, with some great symphonic rock. He is not alone in creating this album as two of the tracks, namely Isle Of Eight and Total Eclipse features the voice of Cathy Alexander while Return To the Northern Wasteland also has Cathy Alexander and Ryan Masson contributing to keyboards and random noises respectively. Apart from that the electric, acoustic, classical and 12 string guitars, bass guitar, recorders, keyboards, percussion, trombone and drum programming are all in the hands of Colin Masson.

As you can expect it is very difficult to try and describe a whole track that runs over twenty minutes in duration, but in synthesis Masson does manage to create masterpieces with his works. The electric guitar is very very similar to that of Mike Oldfield especially when one compares the styles of playing of both guitarists. There is no flurry of notes along the fretboard, but each note is calculated and delayed, giving it the necessary emphasis and importance.

Another similarity is the introduction of various instruments at various sections of the track which play a short tune that is immediately picked up by the guitar and continued from there. Also the common love for folk music, especially what seems to medieval music can be felt throughout the album. At times the music has tinges of Gryphon or Amazing Blondel, not to mention The Morrigan. Cathy Alexander's voice, one of the most beautiful voices in British folk music, further adds to the folk roots feel. Much like Oldfield did with Maggie Reilly, Masson does with Alexander as her voice adds to the depth of the tracks she is present on as well as add to the variety within the track.

Having said that there also times when Masson lets his rock roots take over with his guitar work changing slant (see the introduction of Return To the Northern Wasteland). The use of twin guitar playing, as well as guitar harmonies, similar to Brian May's style of playing, comes as a surprise when compared to the mellow nature of much of the music on the album. On the other hand it makes a great contrast, never straying away from the underlying musical theme of the track while at the same time serving as a bridge between various musical ideas.

On the whole this album is a great album to listen to and should appeal to all those progressive rock listeners who are enamoured of Mike Oldfield's solo output. As I have said there is alot of similarity between Masson and Oldfield, yet at the same time Masson has managed to create three tracks which have their own individual identity, making this album worthy of anybody's collection.

Conclusion: 7.5 out of 10.

Nigel Camilleri