Original language: German
With After Long Years, the Munich-based formation Lukas Tower Band presents an album released through self-distribution, containing mostly more recent compositions. The band had already been active in the 1980s and has embraced British folk rock as its style. In particular, a legend like Fairport Convention serves as an inspiration for the band’s own compositions. The British-Celtic heritage blends with subtle jazz influences, while a relaxed underlying tone always prevails. At times, the music evokes a mix of typical folk rock and laid-back “bar jazz.” The traditional folk element is most notably present in graceful flute playing, which is harmoniously integrated into the relaxed character of the songwriting. The folk-inspired compositions often maintain a soft, underlying tone, cleverly interwoven with delicate string work.
The opener, “Indian Beard,” begins with majestic-sounding guitar tones, which, together with subtle keyboard accents, create a gentle build-up of tension. For a brief moment, refreshing flute playing adds the folk element. With the onset of the clear female vocals of lead singer Angela Maier, the song takes on a measured pace, and a romantically nostalgic mood settles in. Carefully woven saxophone passages introduce a light jazz tendency. The high pitch of the vocals aligns with the folk rock traditions of the 1970s and is overall convincing.
After a successful introduction, the dreamy “Ravens” further strengthens the folk direction, and Angela Maier’s voice shines even more. Floating flute playing gives the song an ethereal romanticism, which is deepened by the delicate inclusion of flute passages.
With the following track, “Dreams To Sell (2),” the band shifts into relaxed jazz territory, which is later expanded with rock elements. The vocals are used in a typical “bar jazz” manner and gracefully take center stage. However, this stylistic shift doesn’t feel entirely convincing, and the sound seems slightly too focused on a relaxed vibe.
This basic stylistic approach is largely maintained throughout the album, which leads to the folk elements being pushed further into the background. However, there are sporadic progressive touches, though they are primarily more complex arrangements. Therefore, After Long Years doesn’t quite cross into true art rock territory.
Still, tracks like “King Of Dyfed” stand out with a brittle beauty, dominated by a relaxed, airy light jazz sound that even at times bears a certain resemblance to the Canterbury sound.
Overall, despite some lengthier passages, this is an album that is pleasant to listen to, though the initially prominent folk elements are eventually overshadowed. The long-standing experience of the musicians is evident, reflected in their well-crafted musical arrangements. However, those expecting intricate jazz rock will be disappointed. The band’s self-description as “King Crimson meets Clannad meets Steely Dan” is certainly not entirely unfounded, but perhaps a bit exaggerated, though this cannot be directly blamed on the band.
(Horst Straske)