by Ben Hogwood

What’s the story?

Ben Reed has an eclectic musical CV, so it stands to reason his first album on the Esoteric label should live up to those promises.

So far his credits include playing for artists as diverse as Frank Ocean, Sampha, Orlando Weeks and David Byrne – while his own original work draws from progressive rock old and new but reaches back further, to classical music and beyond.

Bandaged has been in the pipeline for three years, with Reed himself recording the vocals – but with guest support featuring a starry array of names. These are Caravan’s Jimmy Hastings, Ross Stanley (organist in the Steve Howe Trio), steel guitar royalty BJ Cole, flautist Rachel Hayter, singer / songwriter Laura Groves on keyboards and Matt Weeks, who doubles up on horns and extra production.

What’s the music like?

Bandaged is a consistently rewarding album. As with all music of a progressive nature it doesn’t reveal all of its treasures immediately, but there is plenty for the first-time listener to hang on to.

The chorus of Tale Of Cleopatra is an obvious case in point, taking up root in the head immediately, but so too is the more complicated, virtuoso performance behind I’ve Got Chains, a lyrical masterclass which also provides an uncanny reflection of modern life and all its pleasures.

The richly coloured and beautifully scored opener Plea finds Reed looking back towards Medieval music in some of the rhythmic trickery, yet he doesn’t fall into the trap of making it too cheesy. Instead, music old and new adds up to something wholly rewarding.

Comparisons with the Canterbury scene are valid for many good reasons, and songs like Everything That Matters enjoy a closer stylistic parallel while keeping a healthy sense of humour, but there are also references in Reed’s work to late-1960s psychedelia. On the other hand, he can write a study in thoughtful meditation, as No Arms No Legs No Body At All and Dwindled turn out to be, the latter with ghostly visions.

Tangled Branches has beautifully layered harmonies and a lively flute counterpoint from Hayter to tell its story, while on the darker side we have Chapter Of Risk, its lower layers of doom enhanced by Hastings’ contrabassoon.

Does it all work?

Yes. While there are a lot of experimental tendencies on Bandaged they are brilliantly managed, and there is almost always a musical hook to hang on to. Lyrics are excellent and memorable, too – when did you last hear the word ‘rivulets’ in a song?!

Is it recommended?

Definitely. Bandaged is a very English progressive record, in the best possible way.

Listen

Buy

You can explore purchase options for Damaged on the Cherry Red Records website