Search - Pendragon :: Believe

A more ecclectic, experimental PENDRAGON emerges. Different,

Jeffery K. Matheus | Indianapolis, IN United States | 10/04/2005

(5 out of 5 stars)

"Featuring Nick Barrett (guitar, lead vocals), Clive Nolan (keyboards), Peter Gee (bass), and Fudge Smith (drums), Pendragon are a band who emerged out of the early-80's "prog revival" scene in the UK, which also gave birth to Marillion, IQ, Pallas, & Twelth Night. To me, Pendragon have always been the most interesting (and perhaps the most consistant) of all those bands. In my opinion, they wrestled the "new prog" crown from Marillion somewhere around the release of "The World" & "The Window of Life" in the early 90's (of course others are free to disagree.) Pendragon then uped the ante with, what I consider to be, two of the absolute finest albums ever in the prog-rock genre -1996's "Masquerade Overture", and 2001's "Not of This World". Pendragon's style, based around the words and music of group-founder Nick Barrett, had always taken it's inspiration from the classic prog bands of the past (Pink Floyd, Genesis, Yes, Camel), but they reinterpreted those influences with a keener ear for hooks and melody, and somehow forged a truly distinctive musical identity that set them apart from the pack...That brings us to "Believe", the band's seventh studio album, and their first all-new work in nearly four years. Months prior to the album's release, a Nick Barrett interview on the band's website informed fans that this new album would be something of a departure, and would add some new, more modern elements to the Pendragon sound...I must admit, after recently being burned by the new Alan Parsons CD (with it's Club DJ's & dance mixes) I was a little worried that perhaps Pendragon were also about to disappoint me for the very first time!...Well, having now listened to this album numerous times, and letting its words & music really sink in over the last few weeks, I can assure you that this is NOT a commercialized "sell out" album by any means! What we find here, in fact, is a more ecclectic, experimental Pendragon - a band exploring new ways of expression, and even taking some bold artistic chances! Long-time fans will be pleased to know that these guys still make complex, involving, "epic" songs, and have certainly not ditched their prog-rock roots. What's new and different here is the actual sounds & textures used, as well as the ways in which the songs are arranged - the "heavy" parts are heavier, the "softer" parts more etheral & contemplative, and the dynamic "mood swings" more extreme. Modern technology is also embraced far more liberally than on previous albums, with current production techniques & electronic gadgetry all used to great effect (although some may be saddened that there are far less of Clive Nolan's "vintage" keyboard sounds - i.e Moog, Church Organ, etc.) But by the same token, the band also seems to have a newfound interest in acoustic sounds & ethnic music. Barrett's guitar playing definitely has more of a classical/flamenco flavor on this album, and he now uses his nylon string acoustic almost as often as his Fender Strat!...Luckily, this odd blending of acoustic & electronic influences is one of the very things that really make this album so unique & intriguing! Here is a track by track rundown...The album kicks off with the short but mysterious title track, "Believe". It's the closest Pendragon have come to a straight-out "new age" piece, with layers of keyboards, etheral female voices (is that Gaelic I hear?) and a spacey "talk box" guitar solo. This track sets the mood, and gives some hints of what's to come. Next, "No Place For the Innocent" starts out rockin', with some great guitar riffs & a killer "classic rock" chorus. It then morphs into a more exotic/proggy sound - with eerie vocal effects, interweaving acoustic/electronic sounds, and lyrics that speak of conspiracy theories and "the secret societies of Babylon". This track will definitely appeal to fans of previous albums, while also offering some fresh twists on the Pendragon sound. Likewise for the seven-minute plus "Wisdom of Solomon", which bases it's lyrics around the old "hear no evil, speak no evil" motif. This one has some great prog 'mood swings', and is highlighed by Barrett's fast acoustic picking, Peter Gee's melodic bass, and some surprising metalic/techno sounds from Clive Nolan's keys...definitely one of the band's top songs ever! Next comes the 21-minute suite "The Wishing Well". Actually, it's more like four seperate songs which segue into one another, each creating a different mood. The first part is "For Your Journey", a soothing piece in which the music is based almost entirely around some beautiful, new-agey keys from Clive. The vocal begins with some emotive singing, then soon moves into a spoken narration. This bit is quite reminicent of Graeme Edge's poems on the early Moody Blues albums, and is, to me, one of the album's most introspective, touching moments. The suite continues with the melodic, melancholy "Sou By Sou'West", another personal favorite, and perhaps Pendragon's finest ballad ever. It begins with intertwining acoustic guitars & synths, then rises and falls in intensity as it moves along. There is a gorgeous classical guitar break by Barrett, followed by one of his most heartbreaking "shivers up your spine" electric solos! The unusual lyrics seem to be, on the surface, a tale of boats, pirates, and "shark-infested seas". But those who look deeper will find a more universal theme - man's search for something greater than himself. I also must say I really love Barrett's vocal on this one, especially when he pushes his voice into the higher registers. (I realize that there are some who consider Nick a weak singer, but I heartily disagree. I find his expressive, one-of-a-kind voice to be one of Pendragon's greatest assets!) The third part is "We Talked", a frantic rocker that speeds along with an almost punk-like intensity. The guitar hooks are great, as are the exposive drums of Fudge Smith. However, I must admit that upon my first listen to this CD, this was actually the one track that I really just did not "get"! (With a few bizarre sound effects, comical voice samples, and a touch of humor in the lyrics, it is, quite honestly, the farthest removed from anything we have heard from Pendragon before)...But then after several more listens I began to tolerate the song, then like it,..then love it! The "Wishing Well" suite concludes with "Two Roads", a catchy song that alternates between folksy acoustic verses, and harder rocking ones. Fudge Smith shines once again, as does Barrett's distinctive voice. Up next comes another personal favorite, "Learning Curve". It's a song about spiritual searching, aparentaly based on Nick's own personal journey of recent years. While this track is very progressive in structure, it is quite unlike any prog song that I have ever heard! It begins with a cool, jazzy vibe (great keyboard sounds from Clive during this part!), evolves into a catchy rock midsection, then climaxes with a flamenco-infused guitar workout. The creative bass work of Peter Gee adds a lot to this song, as does Barrett's increasing palette of guitar tones. Lastly, the album closes on an intimate note with "The Edge Of the World" - which, if not for some subtle touches from the rhythm section, would be a Barrett/Nolan duet. Based around some gorgeous nylon-string classical guitar work (with the keyboards creating a sort of orchestral backdrop), this is a song that Barrett wrote specifically for his fans. There are references to cities the band has played, and even names of people they have met along the way. Nick's vocal is quite subdued here and has an almost folksy flavor to it (and he occassionally breaks into a spoken words.) This is, to be fair, one of those songs that people will either love or hate. Count me among those who love it!...The cover for "Believe" is once again provided by artist Simon Williams, although it has quite a different look from his previous Pendragon covers. The CD booklet includes photos of all the band members, as well as up-close views of some of the Williams-designed "skin art". Actually, it took me a few listens to realize that the this whole "tattoo" visual-theme is based on a lyric from "Learning Curve" ("your life tattooed upon your face/a bluprint of some other place".) The engineering, mixing, and production talents of Karl Groom (who co-produced with Barrett) are also a great assest to the album, and for best results I recommend listening with headphones (there are some great litte sonic "nuances" here that just don't come though as clearly on speakers!) I would also recommend giving the disc a few spins before passing judgement. As with many great prog albums, there is just too much going on here to understand it all in one listen...All in all, "Believe" is a creative, mature work from a truly extaordinary band. And while all of the band members shine here, it is Nick Barrett who really owns this album! I commend Nick for taking some real chances, yet still coming up with an album that not only stands up alongside Pendragon's previous works, but stands on its own merits as something new...I look forward to hearing where the "learning curve" takes Pendragon from here!"

What Now To Believe?

Jason M. Carzon | bowie, maryland United States | 02/18/2006

(5 out of 5 stars)

"God bless a band like Pendragon who can change and mature and yet still hold onto the instrumental and emotional quality for which they are known. Right off the bat, I must mention that this isn't one of those bands or albums that wallows in a fog of Genesis-worship and delivers nothing but half-hour songs and twiddly Wakeman synth solos. Pendragon are the real deal, and have been for some time. Pendragon were on hand during the early 80's for what was later dubbed the 'neo-prog' scene which also included IQ, Pallas, Twelvth Night, and of course Marillion. On the new Pendragon album, they build on this history but in no way wallow in it. They respect their past, but new sounds and influences are brought forward in an unashamed display of taste and style. And the new, more modern direction is what they emphasize here. World music influences, samples, female voices, and atmospheres abound here, and it is the spirit - not the sound - of progressive rock that flourishes here. At 52 minutes long, there is just enough music to keep you captivated and doesn't wear out its welcome for the sake of filling up 78 minutes of a disc. Nick Barrett and his band blend many styles and influences while still retaining the trademark 'Neo' sound that they have carved for themselves for many years now.



Whereas the last record 2001's 'Not Of This World' was a darker, brooding and lengthier affair, dealing with relationships and betrayal, 'Believe' is a bit more upbeat but no less poetic. Here, the theme of 'Believe' seems to comment on political correctness, lack of faith, and our conditioning to a society in which there is nothing to believe in anymore. Whereas some neo-prog is heavy on the gloom and doom, Pendragon are big on emotional content. Prog-rock claims to make you think, Pendragon always aim to make you feel. Guitarist/vocalist and songwriter Nick Barrett gives his brand of progressive rock a more human face, and invites you in rather than clouting you over the head as some similar bands do. His voice, some may say an aquired taste, is unique and personal and nobody else sounds like him. He's not Gabriel clone #342, and doesn't try to impress with swallowing his microphone in a display of shrieking vocal acrobatics. He is more of the singer-songwriter type, just housed within a powerful 4-man rock band. Think of him as a neo-prog Justin Hayward(Moody Blues) and you're only ten percent right. His guitar is even more fluent- a soulful, mourning lead player who can fill all guitar demands, be it a chunky rhythm guitar ala Mike & The Mechanics, flamenco ala Steve Stevens, or a wailing lead ala Santana or David Gilmour. It's a sin that he doesn't get the recognition he deserves as a guitarist, as he can truely make the instrument sing, cry, spit and bite.



Barrett is the soul of his band, but the rest of band are indispensible as well. The same line-up has been in effect since 1986, and also includes Peter Gee(bass), Fudge Smith(drums) and of course keyboard maestro Clive Nolan(of Arena/Shadowland fame).Nolan has made a name for himself as the premier Neo keyboardist working today, and his continued involvement with Pendragon is probably no longer even necessary considering his success with Arena and other projects. He does this because I assume he wants to, because he believes in the music. One may notice his playing seems perhaps subdued or underused on 'Believe', but listen closer- does less twiddly solos and organ overkill count as subdued playing? Again, Nolan's own style has also evolved and does only what is required of the songs. His playing serves the material, not the other way around. There is plenty of tasteful playing, more atmopheric, more organic. There is more in less.



The artwork is different too, going for elaborate tattoo designs instead of the usual fantasy paintings.



BELIEVE: an instrumental opener with echoes of Celtic, Santana, Pink Floyd and Middle Eastern, with warm synth textures and soulful guitar leads which reminded me a little of some of the instrumental stuff from Floyd's 'Division Bell'.



NO PLACE FOR THE INNOCENT: in a better world without American Idol and the like, this would be probably be the lead-off single and perhaps a hit. This track has a immediency and urgency which recalls Queen, U2, Marillion, grunge, just a great rock song. Play loud. The song deals with the fact that nodody is encouraged to believe in anything anymore, that we're all conditioned early on to be cynics who dismiss anything outside our own spheres of influence and untimately end up with closed minds with faith in nothing.



THE WISDOM OF SOLOMAN: atmospheric synth, female vocals and crying guitar introduce this track, which is about being pollitically correct to the point of not being able to even think or say anything without fear of offending someone. This is the most traditional Pendragon sounding track here sounding like earlier material like 'The Jewell'(1985) or 'Windows Of Life'(1993). Some nice acoustic flamenco-style guitar from Mr. Barrett.



THE WISHING WELL: the centerpiece of 'Believe' is this 22 minute epic which is separated into 4 parts. It hangs together more as a collection of moods and themes than as a side-long 'Supper's Ready' or whatever, though no less powerful. The track deals with mankind and our need to be human and the freedom to explore our humanity, and even have fun as well. The first part 'For Your Journey' is atmospheric and features a spoken word section reminding me of Moody Blues, but even more emotional, lump in the throat if you let it. The second part 'Sou' By Sou'west' is also featured on the Katrina charity album, while the third & fourth sections are more rock, with atmospherics, samples and acoustic guitar. The drums are more involved as well. Overall, a great slab of music- strange how they put the 'epic' in the middle of the record instead of at the end, like a band would usually do.



LEARNING CURVE: this one has a more modern sound with plodding rhythm and laid back keys and guitar. Quite refreshing after the 22 minutes of 'Wishing Well'. I suppose this track is about learning and being patient with the lessons of life. Some of the solos remind me of fellow Neo band Jadis.



THE EDGE OF THE WORLD: the last track starts quiet, sad and reflective. A heartbreaking guitar lead and some melencholy keyboards eventually give way to full band anthem before ending the album on a reflective note.



Believe in the new Pendragon, it may restore your faith in decent new music coming out these days in the 'Neo' genre. I would place this in the top spot for best neo of 2005 along with Kino, Arena and Pallas. Enjoy."

We believe in Pendragon

Murat Batmaz | Istanbul, Turkey | 09/27/2005

(4 out of 5 stars)

"Four years after Not of This World, British neo proggers Pendragon return with a new album. As with every other Pendragon offering, the new CD, while staying true to the band's melodic roots and progressive orientation, has quite some new elements to offer. Nick Barrett's songwriting has certainly moved into a more acoustic-driven approach, utilising plenty of classical guitar, some flamenco, and even folky segments. Clive Nolan's input on keyboards seems to be slighlty reduced, especially if you are expecting a lot of keyboard-guitar interplay. However, Nolan is there in a different capacity. He helps create the dense and somewhat dreamy atmosphere on the album adding in quirky synth lines, various sound samples, and the classic Clive Nolan melodies fans of Pendragon and Arena have come to expect from him.



The short title track signals what the listener should expect from Believe, encompassing a mystic, slightly Eastern feel with a vast array of sound samples, soft female vocals that seem to sing in Gaelic, thick threads of atmospheric elements, and an enigmatic blues solo. Surprisingly though, the band displays a more hard rock style on the next piece "No Place for the Innocent", a straightahead rocker that will please fans of Led Zeppelin and Queen. Don't be mistaken, however. This is still Pendragon with numerous changes of speed and rhythm and a great contrast between acoustic and electric guitar. "The Wisdom of Solomon" may be the best cut to represent Believe as a whole, and one of the highlights of the album. Female vocals, sound samples and Barrett's amazing lead guitar work characterized by instantly memorable melodies kick the song off, leading into a lengthy acoustic guitar interlude that is right up there with the brilliance of Andy Latimer's work. There is even a jolty electronic section in the middle which showcases the experimental edge of the album. On top of all we have Nick Barrett's vocals which sound even stronger and more passionate than before. The strong lyrical content also embeds the piece as one of the best Pendragon songs.



"The Wishing Well" is the epic of Believe, with a remarkable length that breaks the 20-minute mark. The song is divided into four sub-sections, each focusing on different movements and venturing into different musical areas. Granted the song is well written and performed, some Pendragon fans may be taken aback by the somewhat drawn-out narrated parts by Nick Barrett on "For Your Journey", as meticulous synth work and female vocals echo deep down in the mix. The Celtic feel of "So by Sowest" lends the album a welcome folk sound along with Nick's plucked acoustic guitars and passionate vocal delivery. "We Talked" adds in some groove with a wide range of ethnic and pastoral elements, leading into the final section, "Two Roads", perhaps the band's most similar song to their earlier works. The song embodies lofty acoustics, smooth e-bow, vibrant drumming, continuous speed changes, a stunning guitar theme with a very catchy main chorus that just doesn't let go. The mystic elements resurface on the bass-driven "Learning Curve" which ends with an interesting coda for Spanish guitar and bleeds into the most heart-breaking Pendragon finale in the form of "The Edge of the World". Both spoken and sung lyrics, some of which sound Polish, mood-intensive acoustic guitars, a soulful vocal performance, and an amazing guitar solo that goes on and on make this piece one of Barrett's best compositions in his 20-year career.



Some Pendragon fans may find Believe lacking when it comes to huge symphonic sweeps of Clive Nolan's keys or they may miss Nick Barrett's memorable and melodious electric guitar hooks, or the drawn-out instrumental passages, but those who are expecting a mixture of all the strong sides of Pendragon melded together, with added acoustic beauty, will have Believe reach into their soul and take them on an ethereal musical journey."