Yoke Shire: More "Masque of Shadows" Reviews

     "A journey through time and space..." Yes, Rod Serling's words are famous as the eternal lead-in to "The Twilight Zone." In the context of Chelmsford, Massachusetts - based Yoke Shire it could describe the band's latest full-length CD "Masque of Shadows".

Time

     As purveyors of a unique style of rock and roll, Yoke Shire stirs up sounds and approaches that are modern, yet retro. There's the late '90s rebirth of Gothic rock that has transcended the stereotypical dark halls of Europe. Yoke Shire has similar melodic structure, but lacks the electronica beat that much of the modern Goth employs.

     Also, there's a sense of heavy metal from the early '90s not unlike Queensryche - which in itself is a good link because Masque of Shadows is a concept album, but not as intricate and intellectual as Queensryche's "Operation: Mindcrime". However, the timeline goes back further to the '70s and the progressive and/or art rock bands that pervaded in the early part of that decade.

     Obvious comparisons can be drawn to the melodic Jethro Tull (and not just because of Craig Herlihy's haunting flute during "The Brook, the Mirror and the Maiden") and Iron Butterfly. Epic-length songs and short instrumental tunes entwine on this CD. As drummer Brad DilIon and Craig Herlihy complement each other well with the gothic harmonies, the songwriting is exciting. Craig's brother Brian adds the main acoustic and electric guitars that stretch the boundaries.

Space

     What may be the most surprising from this trio is the use of space. At times, all that may be heard is an acoustic guitar or keyboard which subtly permeates. Other moments may just be vocals, layers and layers deep in tone. Or, they may crank up the tempo and churn out a virtual wall of sound that the stereo is struggling to keep confined.

     Then there's the ethereal and experimental moments. At the band's best, they present an orchestral wave with ebbs and flows. Subtle percussion, the haunting flute, a little keyboard or guitar to accentuate, and it all conjures mental imagery.

From the onset of "Masque of Shadows", the Listener might get the impression that Yoke Shire's sound is influenced by mellow, '70s-styled, bong-hittin' funk. Alas, first impressions aren't always accurate, and the album ventures off into a thematic, Celtic inspired landscape, complete with related instrumentation. The band goes on to incorporate different musical styles and textures, ranging from hard rock to Jethro Tull-ish progressive art rock, to chant-like, a cappella vocals. "Masque of Shadows" is an adventurous, unpredictable, yet very entertaining album really showcasing the superb musical talents of the members of Yoke Shire.

     After listening to the first 59 seconds of this CD, I knew Yoke Shire was a very different band. They launch into their latest release, Masque of Shadows, with a just under-a-minute weird psychedelic synthesizer instrumental intro, called "The Three Welcomes." This is just one of the myriad surprises in store for the listener of this truly unique album.

     With their lush concept-oriented songs and their heavy use of keyboards and vocal harmonizing, Yoke Shire can probably be best described as a peculiar amalgam between Rush and Deep Purple on opium. I thoroughly enjoyed the numerous complex tempo changes and wide array of instrumentation peppered throughout the mystical songs. "Black Tower," the second track, is a trippy slow groove with tight distorted guitar solos and bluesy harmonicas. The solos are clean, not overbearing, with lots of echo. Nowhere is the Deep Purple analogy more evident than in the up-tempo pulsing keyboards finely woven into the middle of this song. There also seemed to be an almost Santana feel to the crafty guitar work here. The CD flows nicely to the next track, "Shape of a Dancer," in which, at one point, a dark harmonica run of notes was reminiscent of old Black Sabbath. Indeed, the '70s parallels were rampant across this CD. The Zeppelinstyle acoustic strumming and Jethro Tull like flute solos in "Magic Circle" make you want to fetch your old blacklight posters. Lyrical themes tie tracks 5, 6, and 7 together as a mini concept album. The bouncy bass beats, cool atmospheric driving guitar and synth power chords add substance to the triad.

     Yoke Shire excel at providing medieval or fantasy lyrics and imagery, with intricate rhythms and arrangements across the CD. They use flutes, dulcimers, mandolins, marimbas, glockenspiels, sound effects (e.g., a galloping horse), the melodihorn and theremin to accentuate the more standard guitar, bass, and drums. There is even a spooky a cappella decrescendo thrown in the mix. Any lovers of quirky progressive rock will fall in love with this band. Rush fans and Yes fans should be the first in line to pick this one up from the local music store.

If Queen hadn't already done the soundtrack to "The Highlander", Yoke Shire would have been the appropriate band for the job. Thoughts of medieval legend, folklore and fantasy come to mind. I was kind of surprised to read that, "No sampling, sequencing or drum machines were used on this recording." The list of instruments that vocalist Craig Herlihy plays could fill a paragraph. This three piece from North Chelmsford, MA is far more than cool and unique sounds, this is a group that can sing, play and arrange. As you come to know Yoke Shire you learn their intent is to take you on a journey. Starting with the opening track, "The Three Welcomes", which features an instrumental using what I believe to be a theremin, the groove kicks in on the thick, heavy, molasses covered rocker "Black Tower". More cool guitar sounds featured in "The Shape of a Dancer". "The Brook, The Mirror and the Maiden" has a mythical feel to it that opens with a great vocal intro. "Return Voyage" is more of an old school hard rocker style. Yoke Shire has no lack of talent and "Masque of Shadows" is a well produced and recorded example that rock can take many exciting and diverse forms.

So here is a zero cheese factor release which I am sure will fill the bill if you are into heavy classic rock affiliated prog. To best describe "Masque of Shadows" you must imagine loads of analog synths, organ and piano drenched with deep, complex and precise drumming littered with acid laced guitars and dark bass rhythms. Songs are excellent and seem to never stand still taking on many different identities. Yoke Shire are a highly inventive band who deliver a high energy ever-changing crafted progressive music. One of Yoke Shire's greatest attributes lies in their originality, attempting to always bring out their own colors and character into the music. Vocals are deep and dark and in many ways haunting! To give you an idea as to how wide and range Yoke Shire play let me acknowledge some of the musical allusions one may derive such as Hendrix, ZZ Top, Rush, Celtic influences, The Psychedelia and even Deep Purple. Overall this album is fine enough to serve in the worlds finest restaurants.

A refreshing and unusual album, combining '70s AOR rock sensibility with progressive textures and some truly clever arrangements. This Massachusetts band sounds like no other, and that's saying a lot.

"Black Tower" carries slight hints of Santana, while tracks like the mandolin-laden "Magic Circle" and the nine-minute "The Brook, the Mirror and the Maiden" offer similarly slight nods to Jethro Tull. Otherwise, Yoke Shire claims a unique identity for which Craig Herlihy is largely responsible. Herlihy sings intriguingly in a lower register, and wields an arsenal of instruments including flute, guitars, keyboards, bass, dulcimer, theremin, marimba and mellotron. Brother Brian performs electric and acoustic guitars, while Brad Dillon handles percussion (including glockenspiel).

In its liner notes, the band boasts that no drum machines or sequencing were used, that "all keyboard sounds are derived from original sources, including vintage organs, analog synthesizers, acoustic piano and other stringed keyboards."

I really enjoyed the sense of atmosphere Yoke Shire conjures by using space and pacing to build tension. The guitars can be flashy; the flute might be a tad underused. Compositionally, there's a lot to like here. Recommended.