(2023) Haken - Fauna

Review:
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 2018’s 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 subject’s 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 2017’s Further Side for Metal Blade. Jones’ adventurous sonic palette adds immeasurably to Haken’s progressive metal approach on Fauna. He’s not as interested in atmospherics as Tejeida was, he’s 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” is introduced by an electric piano before bird song, electronic effects, 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 band’s 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 latter’s 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 set’s 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 Giant’s 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. — AMG

Track List:
01 - Taurus
02 - Nightingale
03 - The Alphabet of Me
04 - Sempiternal Beings
05 - Beneath the White Rainbow
06 - Island in the Clouds
07 - Lovebite
08 - Elephants Never Forget
09 - Eyes of Ebony


Media Report:
Genre: prog-rock
Country: London, UK
Format: FLAC
Format/Info: Free Lossless Audio Codec
Bit rate mode: Variable
Channel(s): 2 channels
Sampling rate: 44.1 KHz
Bit depth: 16 bits
Compression mode: Lossless
Writing library: libFLAC 1.2.1 (UTC 2007-09-17)


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