On their latest release, Masque of Shadows the trio known as Yoke Shire manifests some of the most entertaining and innovative music since Pink Floyd hit big with Dark Side of The Moon.  Brothers Craig and Brian Herlihy harbor an arsenal of instrumentation that includes flute, dulcimer, mandolin, bass pedals, theremin, marimba, melodihorn as well as a host of electric and acoustic guitars while drummer Brad Dillon keeps an impeccable clock throughout this cleverly crafted medieval epic.

     From their clever CD art to their middle ages attire, Yoke Shire is a band that ultimately walks the walk and talks the talk - an exceptional outing from a talented group of craftsmen.

Douglas Sloan (December 1999)

     Without harping too much on the nostalgia tip, Yoke Shire marks a most welcome throwback to the classic rock era.  Perhaps because hindsight allows the band to be selective about the elements it borrows from the golden '70s, Yoke Shire gets it right.  At times echoing heavyweights like Jethro Tull, Santana, and Led Zeppelin, the trio preserves the macho vocals, interesting arrangements, and instrumental skill of its predecessors while purging the need for self-indulgent noodling.  Sometimes Masque Of Shadows rocks with fangs exposed, sometimes it plucks gently at our rock 'n' roll heartstrings.

     Brad Dillon plays the borderline-prog material with conviction and maturity, but still isn't above burning some pretty impressive tom fills and hyper splash accents. (No doubt these moves induce whoops of glee from black-clad dudes at the group's shows.)  Dillon also beautifully underscores Yoke Shire's Celtic side with crisp snare rolls and a mean glockenspiel.

Michael Parillo (December 1999)
www.moderndrummer.com

     There's no easy way to describe Yoke Shire.  You could call them prog rock, but that would fail to incorporate the quiet tinklings of keyboards, the eerie synths, theremin (and other instruments listed that I couldn't tell you what they are if I tried) and a glockenspiel.  While some of the songs slither along like classic Zappa (a little jazz, some scorching guitarwork, duckwalkin' bass, and oozing vocals matched with triangle tapping or something), others tickle the heavens like Pink Floyd, and some, like the nine-minute "The Brook, the Mirror and the Maiden," chant and file through dark caves and forests like the Druids.  Bordering on New Age at times, yet with real instruments and human passion, not synth Prozac. A singular band that defies trends and categorization.

Scott Hefflon (Publisher) (October 1999)
www.lollipop.com

     The imagery evoked by the music and lyrics left me with a thought, that of Beltane, oft-mentioned druidic festival held in early May (often referenced in Arthurian literature, but certainly elsewhere as well).

     With that thought, I did a little digging into my resources, in this case Bulfinch's Mythology.  Given the jack o' lantern imagery on the album's booklet and back cover, I didn't think that Beltane was the festival referenced here in Yoke Shire's "Masque of Shadows".  This leaves us with the October festival Samh'in, held on Hallowseve (actually November 1).  So, it seems appropriate to preface this review, briefly, with some contextual background, as this is a concept album.

     Samh'in was, as I said, a druidic festival and the term means "fire of peace."  At this time, the Druids would not only "discharge the judicial functions of their order," but it was also a time when "the kindling of the sacred fire, from which all the fires in the district, which had been scrupulously extinguished, might be relighted."

     Beltane, or the fire of god, is when a "large fire was kindled on some elevated spot, in honor of the sun, whose returning beneficence they thus welcomed after the gloom and desolation of winter."  This latter festival provides the majority of the lyrical/musical imagery, rather than Samh'in (of course, lesser festivals can be referenced, too).  But, I don't want be misleading - the songs aren't about this festival and the goings on, but it does form a backdrop the music.

     At any rate, with this medieval context in the back of your mind, you can imagine, to some extent the music contained within.  While Yoke Shire aren't as acoustic based as Tempest say, or mid-period Red Jasper, there is a decidedly folk feel to the arrangements.  I'll admit that I didn't hear this before in listening to the two track sampler, but here, in the fuller scope of the album, it is apparent.

     Having already reviewed "A Foreshadowing" earlier this year, I thought I knew what to expect - an album full of thick, heavy rhythms like that disk's "Maiden Voyage" and "Shape of a Dancer."  But, those only show one facet of Yoke Shire, as only four of Masque of Shadows' ten tracks contain vocals - the two on the sampler, "Black Tower" and the title track.

     Instead, this is some of the most interesting, complex prog rock I've heard in a while.  It is quiet varied showing the influence of Jethro Tull and Iron Butterfly, I think, if only in the way it's thickly chorded.  Yet, "Black Tower" closes out sounding a bit like Santana - there being a slight Latin feel to the guitars...maybe it's just that guitar tone is similar to Carlos Santana's. Rolling percussion closes out "Shape of a Dancer" like thunderclaps...no, the echo of thunder on wood...in the dark, as sound carries.

     The Tull influence is probably most obvious in the fact that Herlihy plays flute, but it is more because of the medieval folk element to the music.

     Craig Herlihy's vocals are unique, at least to progressive rock – I can't make an immediate comparison - he doesn't sound like Anderson, Sorbye, or Dowd in any way.  His voice is rich, deep at times, and he's on key, thank goodness.  A full-bodied voice is the best way to describe it.

     This is heavy rock, not metal heavy, but...dark, lower register heavy.  If you could weigh the sound it would tip the scales.  And yet, it also has a very earth quality, gritty.

     I find I like the instrumental tracks and the instrumental parts of the vocal tracks more than I do the vocal sections, but as I listen to this over an over, and become more accustomed to Herlihy’s vocal style, the degree to which that is true is less and less.  Meaning, that I am coming to like the vocal tracks as much as the instrumental.

     There is some really great playing here, from all the members involved.  Craig Herlihy is a multi-instrumentalist, playing guitars, keys, and bass of the traditional rock instruments, but also dulcimer, marimba, and something called a melodihorn, which is a new one to me.  Brad Dillon provides the solid and textured drumming - some very impressive work, as mentioned above.  Brian Herlihy handles the guitar duties as well.  I don't know who is playing which part...I'm guessing most of the lead lines are Brian, and he is a tremendous player.

     Based on my initial impressions of the sampler, I honestly didn't expect to like this as much as I do.  As I write this review, as I listen to the disk again and again, I keep finding little things that I hadn't heard before.  All of which means that this has gone from the doubtful pile to the top o' list contender.  The only drawback to this very recommended disk is that it's way too short.

Stephanie Sollow (Editor)(October 1999)
www.progressiveworld.net

     "A gathering of shadows robed in twilight where visions, dreams and sound all take flight..." Damn, I wish I had written that because it pretty much sums up what "Masque of Shadows" (which is also the title track I quoted those lyrics from) is all about.  To say that Yoke Shire sound like Sabbath, Santana and Jethro Tull all rolled into one huge pagan prog-rock party would be an elegant understatement, since most music critics dismiss any rock band with oversize orchestrations of lengthy meandering guitar and electronic dislocations as "prog-rock."  Renaissance Folk would be a better way to classify this revisionist trio because the music evokes images of a time in the days of old when Knights were bold and court jesters entertained royalty.  It could be the soundtrack for King Richard’s Faire. According to the liner notes there was no "sampling, sequencing or drum machines..." and all of the sound effects were made from musical instruments.  The "effects" are brilliant and the use of unconventional rock instruments such as flute, Dulcimer, Mandolin, Theremin, Marimba, Melodihorn and Glockenspiel bestow extra mood and atmosphere to the music which ranges from progressive jazz improvisations to all-out fusion meltdowns.  Classical influences collide with elements of blues, rock and folk in this majestic blend of musical mirth and merriment.  It’s hard to believe that all this was accomplished by just three guys... This disc is quite impressive, however, I fear it will probably get lost in the frenzied Industrial landscape of modern mallternative rock because visionaries like Yokehire are usually so ahead of their time that only a few people (like myself) will understand it.  Magical, mythical and mystical.

J. Lianna Ness – Senior Editor (September 1999)
www.instantmag.com

     What if... What if Jethro Tull's Ian Anderson had a taste for slightly heavier music and loved Carlos Santana?  Well, that would be quite close to the music of Yoke Shire.

     Yoke Shire is a Massachusetts (USA)-based trio. Formed of Craig Herlihy, Brian Herlihy and Brad Dillon, Yoke Shire is a "busy" band.  Each member plays many instruments, sometimes a few at once.  These include, along with the obvious guitars, keyboards and drums, flute, harmonica, dulcimer, theremin, marimba and glockenspiel.  The band is proud to say that "no sampling, sequencing, or drum machines were used on this recording."  Only acoustic and electric guitars, acoustic drums, various acoustic instruments and vintage analog keyboards (mostly organs and piano).

    Yoke Shire's music combines medieval, folk and progressive influences with a light touch of heavy metal and some Latin seasonings.  Wow! It sounds like Santana lost control of his band on the finale of "Black Tower".  There are a handful of instrumental tracks that take good note of Jethro Tull and Fairport Convention's endeavors.  The piece de resistance is the "Maiden Voyage" suite, a fifteen minute three-part song with a heavy main theme (that evokes the band High Wheel) that disappears to leave room for a beautiful pastoral development.

     "Masque of Shadows" is an excellent first record, very promising, and will appeal to any fan of folk-oriented prog with a harder edge.  Oh, and the sound quality is better than perfect.  Yoke Shire could very well be the best new prog artist of 1999.  Very strongly recommended.

François Couture (September 1999)
http://members.tripod.com/~cflx/delire

     In and around Boston YOKE SHIRE are already a progressive rock/70ies rock phenomenon.  These three people seem to bring those glorious hippie days back to life.  Days with rough and groovin' hardrock, floating progrock parts, freakin' organs, a mixture of folk, blues, and groovin' hardrock. It's damn hard to compare this band to another band.  "Masque of Shadows" is like a meltdown of JETHRO TULL, TED NUGENT, FOLK ... to hell with these comparisons.  During the 42 minutes you get great groovin' rockers in the style of the 70ies (Black Tower), some blues influences (Shape of a Dancer), beautiful Celtic folk (Magic Circle), charming warm vocal washes, spooky minutes (Ghost Notes), one straight guitar-duo rocker (Masque of Shadows) and an atmospheric prog masterpiece (The Brook, the Mirror and the Maiden).  And best of all: you get great old, complex and dense flair in the finest sound that modern recording techniques have to offer.  I love it!

     ...a must for all 70ies rockers, open minded progrockers, nostalgic hippies and motorcycle gangs.  A unique band with a unique sound, unique vocals, unique compositions and a unique atmosphere!  Congratulations to Boston for giving birth to such a great band!

Markus Weis (September 1999)
www.durp.com