Some artists are like a warm, cozy blanket on my stressed-out nerves.  Colin Masson is an old favorite, and he has been pretty active so far this year.  His new full-length album is called Echoes of Albion, and it released back on February 4^th.

Colin is the former leader of the progressive folk band The Morrigan.  I’ll be honest and say that I never could get into their music much.  He is also a multi-instrumentalist that has been creating solo albums for over twenty years now.  His first was called Isle of Eight, and it has long been a favorite of mine.  I listen to it several times per year.  I also liked his 2009 album The Mad Monk and the Mountain and 2011’s The Southern Cross, both to a lesser extent.  On this album, Colin handles everything: guitars, vocals, bass, keyboards, and programming.

Here’s the thing about Colin: you will notice right away that he is deeply influenced by Mike Oldfield.  I would say that is less from Mike’s electronic side, and more from his folksy prog rock side, like Ommadawn.  Colin, though, is himself an original artist, too, so I don’t feel that his compositions are clones of Oldfield’s work, but they do contain the same spirit.

Colin is a terrific guitarist, both acoustic and electric.  There’s something comforting in Colin’s chosen guitar tone, too, that I could listen to all day and never get bored.  His music tends to be long-format, driven by some sort of theme, and full of layers upon layers of guitars as they answer one another, rise in chorus together, or emote.  His music has very little in the way of vocals, though you’ll hear some monastic sort of choirs on this one, and you will typically hear flutes and that sort of thing, though I’m not sure who plays them.

Echoes of Albion is the best album Colin has made since his debut Isle of Eight.  That debut had a seafaring tone to it, so it felt adventurous and even a bit pirate-y at times, and it ended with a sort of cosmic exploration vibe.  This album is similar in progression, but contains more of a medieval, mystical tone.  I wouldn’t call it pastoral, but it does feel golden and nostalgic for the fields of home.  I wouldn’t call it folk, but it does have that sort of King Arthur pride woven into it, leaning strongly into the misty legend aspect of it.

And that’s why this album draws me.  It is mysterious.  One moment it is hovering with light electronic elements dancing around my mind, and the next it is reveling in a strong and driving guitar lick that sounds amazing.  This album only has three songs, but it is over an hour long, though it doesn’t feel like it.  That is typical Colin, though, as he crafts lengthy, movement-based pieces that are honestly difficult to process on the first listen, not because of their complexity, but because of how purposeful and meaningful each transition and segment feels.  Even with the length of his songs, I never feel like there is any filler, though it might take you a minute to catch the flow.

The opener is a 22-minute piece that is called “Echoes of Avalon”, not Albion like in the title.  Strange, I know.  This track is wonderful, though, with deep male vocal harmonies creating a sacred feeling, but I also love the hazy tone, the strong guitar work, and the quieter moments that add so much.  It does feel suitably epic, especially in the closing minutes.

The second track is the short one at 15 minutes, called “On Martin Down”.  I think this one might be my favorite of the three.  It’s actually the most reserved track on the album, at least until the halfway point.  I like the light and memory that seems to inhabit this piece, and I like how Colin’s signature muscular licks own the day here; the second half also contains some beautiful flute and spiraling electronic elements that honestly make me want to drift away into a dream.

The closer is called “Caledonia”, and it clocks in at 25 minutes.  I looked up the title, and Caledonia was the Latin name used by the Roman Empire for the northern part of Scotland.  This piece, then, feels perhaps more mysterious and wondrous than the previous two.  This one in particular has more of Colin’s signature layering and guitar tricks, but they never get old for me.  This one also has more acoustic magic and an especially fuzzy portion in the second half that almost feels abstract, or like following the uncertain flow of an untamed river.  I love it.

I know that Colin’s music can seem daunting because of the length, but I think listeners might embrace his style if they can find the right time or mood.  For me, his music is perfect while I’m working or writing, helping my mind both focus and float to other lands simultaneously.  It’s relaxing and beautiful, and I think I’ve listened to this album a dozen times or more already.

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