Issue 2024-047
Duo Review
Focus — Focus 12


It's reassuring for prog fans of a certain age — which includes your reviewer — that bands that were popular some 50 years ago are still active today. In the early 1970s, Focus was one of the most successful bands to originate from the Netherlands. They were especially popular in the UK and the USA where acts from mainland Europe often found it hard to make an impression. Focus are touring North America throughout July 2024 as part of a package headlined by Asia.
Such is the band's longevity, it's hard to imagine that Focus 12 is only their twelfth studio album in a career spanning 55 years. Original album titles were never their forte as this latest offering testifies and like its predecessors Focus 11 and Focus X, boasts artwork by Roger Dean. The four-piece line-up has remained consistent since 2016 with 1970s veterans Thijs van Leer (flute, organ, piano, synths) and Pierre van der Linden (drums) augmented by Menno Gootjes (guitars, piano, synths) and Udo Pannekeet (bass, synths, programming, mixing). The latter pair are also responsible for the production.
The album gets off to a lively start with the current single Fjord Focus which, along with its punning title, boasts an inspired video. Like most of the album, it was composed by Thijs van Leer although Menno Gootjes takes centre stage with a blistering jazz-inflected solo, underpinned by Pierre van der Linden's intricate rhythms. It's perhaps inevitable that Gootjes is often compared with Jan Akkerman even though he has been with Focus for more years than his illustrious predecessor.
Focus 13 is a stately offering, although it does kick up its heels in the second half while Béla features a delicate piano intro and an evocative guitar theme. I may be wrong, but I'm guessing it's a tribute to influential Hungarian classical composer Béla Bartók or perhaps renowned American jazz musician Béla Fleck, or both. During the moody Meta Indefinita, Van der Linden comes into his own with inventive cymbal playing while van Leer's flute flourishes lead All Aboard to a rousing resolve.
The brief Born To Be You is based around random piano chords, in contrast with the exuberant Nura where flute, organ and guitar weave a colourful display before an all too sudden fade. If the album has a flaw, several tracks seem to run out of steam rather than reaching a structured finale. No such problems with the intriguingly titled Bowie, a solo piano interlude. The joyful Positano celebrates the historic town on the Amalfi Coast in southern Italy before the final track Gaia — a Greek word meaning 'the earth'. It begins as a stately, hymnal piece that Focus does so well before organ leads the band through a sprightly dance to close.
In some respects, Focus 12 is a throwback to the Focus of old, particularly as it clocks in at a vinyl-friendly 39 minutes and 40 seconds. Thijs van Leer's scat vocals and yodelling are conspicuously absent but then again, Focus are no strangers to purely instrumental music and one of the tracks was improvised and recorded live in the studio. Although classics like Hocus Pocus, Tommy, Sylvia and House Of The King are long behind them, Focus 12 maintains the band's flair for combining melody, musical experimentation and classical influences that has endured for more than half a century. Long may they continue.

I recently asked a friend what he thought of Focus. With a smile he quickly replied, "fine Music, skillful band".
His comments could certainly also be applied Focus latest release. Focus 12 is a very satisfying album and it is an impressive addition to the bands extensive discography. Thijs Van Leer's band sound fresh and energised. This is quite a remarkable achievement when the band's long history and the age of leader Thijs van Leer (75) and drummer Pierre van der Linden (78) are considered.
The kit work of Van der Linden is particularly impressive and is at the core of the cascading party rhythms that brighten tunes like Gaia. van Leer's wonderful sense of melody is to the fore in most of the compositions. His undeniable prowess on keys and flute provide many uplifting moments.
Focus's latest album is even more enjoyable than Focus 11 released in 2018. That album featured vocals on one track, How Many Miles. Focus 12 is a fully instrumental affair and the band are in superb form. The compositions in Focus 12 are much more varied than on their previous studio album. Nevertheless, they also continue to display many of the stylistic nuances that have been associated with the music of Focus over the years.
For example, the track Focus 13 encapsulates everything that makes Focus music so accessible and enjoyable. It begins with an interesting drum part and evolves in a reflective manner that washes gently upon the senses.
When the tempo unexpectedly quickens, the piece crests and froths and erupts in a squally upbeat connection between guitar and organ. Subsequently, there are some very lively exchanges during the fast-moving organ and rocky guitar interactions and interjections in the concluding moments of this excellent piece.
The more that I have listened to this release the more impressed I have become.
Apart from the excellent way the band perform and execute the music, this is largely due to the well-thought-out running order of the release.
Born To Be You and Bowie are delicately shaped and formed. They predominantly feature the piano and are beautifully played. These two pieces offer a magnificent and soothing contrast to the other tracks.
The album has many enchanting facets and is made even more attractive by the interesting way that many of the compositions evolve. The tunes are accessible and highly melodic, but several of the tunes, develop in interesting ways with a range of contrasting parts. In these aggression and reflection, gentle elegance, and quick-fire pace all have significant parts to play.
In this respect, Bela ticks all the right boxes, the beautiful piano section that begins the piece does not hint at how it will evolve, so when tempo and mood changes occur, the result is even more satisfying. The contrast between Bela's deftly and lightly played beginning and the fiery and fully energised section that follows, featuring all members of the group, is simply delightful.
Nura spectacularly illustrates the way Focus can display contrasting styles and moods in the space of one composition. It begins with classical gravitas and evolves with cathedral spire elegance where the mood is set and adorned by a drape of richly evocative organ tones. An exhilarating change of direction occurs when the band ups the tempo and flexes its rhythmic qualities. After an unexpected reprise of the reflective patterns of the organ, Gootjes tasteful guitar parts guide the piece towards its thrilling finale.
Meta Indefinita is unquestionably one of the most interesting and inventive pieces of the album. It is an improvised piece and its freedom of expression that enables the band to inventively explore the tunes central themes. In this track, the progressive approach of the band exhibits a truly creative air and as result delivers a fascinating piece that has engaging harmonic elements.
However, my favourite composition is probably Positano. It is a tune that takes its name from a village near Naples. It incorporates many ingredients that fans of Focus would undoubtedly enjoy. It builds purposefully and slowly and in its opening stages it is colourfully garlanded by a delightful melody.
Later the piece evolves in a fascinating manner. The effect laden flute interlude and repeated phrase that acts as a bridge between the opening and third part of the tune is quite unusual. It serves to illustrate how fresh and inventive the album is. When this part of the tune is reprised to conclude things, it is unexpected, but works well.
My only slight criticism of the release is that I longed for greater development in some of the pieces. I was genuinely disappointed that some of the tunes ended so soon. Fade-outs to conclude tunes such as All Aboard and Gaia left me wanting more. I wondered if they could have been extended in some way. A mini-epic with several different moods and themes would certainly have satiated this craving. I guess that in the context of the accessible nature of album, that would have been too much to hope for and indeed such an approach, would probably have been out of place.
Overall, Focus 12 is a worthy addition to Focus' large body of work and I will certainly play it often.
I recently played Focus 12 to my friend and asked him what he thought of it He replied with a joyful expression. "Great music, very skillful band, excellent album. Its tunes are emotive and inventive." I smiled, nodded, and simply had to agree.
When you hear Focus 12, maybe you will too!
Duo Review
John Holden — Proximity & Chance


John Holden is a composer, producer, and multi-instrumentalist based in Cheshire, England. He moved from a business career into the music industry, with his debut Capture Light coming out in 2018. Since then, he has followed a tight releasing schedule with Rise And Fall (2020), Circles In Time (2021), Kintsugi (2022), and now Proximity & Chance. None of these albums were known to me before.
John wrote the music, and the lyrics (the latter together with his wife Elisabeth), is responsible for the orchestral arrangements, the programming of drums, and most of what we hear from guitars, keyboards, and bass is performed by himself. Particular to his approach to producing the music of this album (as on his previous releases) is to rely on additional top tier musicians from the prog rock environment to add extra class and highlights to his songs and to selectively and efficiently put their abilities in the foreground on the various tracks.
Before spending time on dealing with the music on this release in more detail, I want to make a few comments on the underlying narratives, and the lyrics.
Reading them, I got the impression that the main thread is John's affinity for describing circumstances, situations, unusual events, and people. I assume a concept behind the last two, the "companion" tracks (as John calls them). Proximity is inspired by a waterfall on the planet Mars, known as a water world with many similarities to its "sister planet" Earth long, long time ago. The Earth's more favourable distance to the sun compared to the one of Mars caused both planets to develop differently into what they are today. Insofar, this Proximity to the source of all living provided our planet with the Chance to create and allow life and to provide for humanity being able to live under the same sun throughout its entire long-lasting evolution. Proximity enables chance - this can also apply to other contexts. Musically, the instrumental Proximity takes up some of the hooks and melodies of three of the previous tracks and thus forms a sort of musical parenthesis.
Looking at the list of guest musicians on this album, it comes as no surprise that the music we hear on this release shows elements of the bands they are also part of. John must have had his reasons for choosing precisely these musicians whose backgrounds certainly correspond to his own prog rock preferences. He states that his musical influences often come from the people whom he works with. Neo prog and symphonic elements form the basis, but this album interprets the term progressive rock broadly.
Characteristic is the use of the orchestra as an integral part of the music rather than just as a replacement for or a supplement to the keyboards. This provides for distinct elements of film, and theatre music, and makes some of the tracks sound like parts of a (rock) musical. Additional descriptive elements are a focus on accessible, and captivating melodies, a good balance of guitars, and keyboards, the importance of melodious, emotional, and sometimes dramatic vocals (great jobs by Peter, Shaun and Sally), and a good alteration between softer and harder moments. The tracks sound varied and there is no wear and tear effect even after repeated listening - quite the opposite. Soloing is present but not abundant.
What makes John's music quite unique in my mind is the way the narrative and the lyrics of the songs are reflected in the music. Acoustic guitar, flute and piano arpeggios on A Sense Of Place, a peaceful instrumental inspired by a Welsh garden, make me experience a walk in that garden with murmuring waters, buzzing insects, and chirping birds.
The Man Who Would Be King is a musical adaptation of Rudyard Kipling's short story, which takes place in Afghanistan, expressed by using ethnic, Indian-sounding instruments. It deals with the arrogance of colonialism, and the superiority of the colonial rulers, evidenced by the fanfare-like trumpet intro, with gullibility, and freemasonry.
Burnt Cork And Limelight, my favourite song, is like a mini rock-opera or a musical, and the most ambitious track on the album in my ears. It tells the story of the assassination of the famous English actor William Terriss by a lesser-known deranged, and disgruntled rival. The lyrics are written from the murderer's perspective. The music, and especially the theatrical, and emotional vocals fully describe, and reflect the various individual stages that his feelings go through: sadness, frustration, determination to take vengeance, increasing mental instability, inner conflict, and ultimately finding peace in prison after being sentenced. Listening to that song and reading the lyrics, evoked the corresponding film in my head.
The delicateness and the gentleness of the melodies on Fini with its touches of sadness and its supposed simplicity perfectly fit to the underlying story that being together in a romantic place (such as Paris in this case) does not always mean harmony, if the one you're with turns out to be the wrong one. For me, this track is closer to classical music than to prog — evidence of the open-minded approach to prog that John is following.
I took a little while to make friends with this album, as it didn't knock my socks off the first time I heard it. Repeated listening gradually made me appreciate its accessibility, its variety, the emotional vocals, the coherence of music and lyrics, the strong melodies, and especially the use of the orchestra as an independent "instrument" in some of the tracks. Recommended to unbiased prog lovers with some affinity for neo prog and symphonic characteristics, elements of film- and musical sounds, and strong vocals. I will now deal a bit more in detail with John's previous albums and have put him on my "prog watchlist".

In the Round Table Review of his previous album Kintsugi released in 2022, my DPRP colleagues and I were unanimous in our praise of the songwriting and musical talents of John Holden. Maintaining a high standard from album to album is a challenge for any artist and with his fifth studio recording Proximity & Chance, Holden succeeds on every level. The formula remains the same, melodic prog with memorable songs, superb musicianship and tasteful production.
Holden once again enlists the service of several guests, some of whom have performed on the previous albums. They are Peter Jones (Tiger Moth Tales), Shaun Holton (Southern Empire frontman), Sally Minnear, Dave Brons, Luke Machin (The Tangent), John Hackett and Moray Macdonald (trumpet). Holden himself provides guitars, bass, keyboards, orchestration and programming, and co-wrote the songs with his wife Elizabeth who contributes to the lyrics.
Holden takes his song inspirations from varied and unconventional sources and opening track 13 is no exception. It tells of the Thirteen Club, established in New York in 1880 to disprove the myth that 13 is an unlucky number. It's the first of three songs to feature the warm and sometimes melancholic vocal tones of Peter Jones. It has an upbeat, foot tapping tune graced by a funky bass line and choppy synth lines. Dave Brons cuts loose in the coda with a sizzling guitar solo, rounding off an uplifting start to the album.
Inspired by Rudyard Kipling's story of the same title, The Man Who Would Be King is the first of two, 10-minute plus tracks on the album. It opens with a stately trumpet solo, playing homage to Aaron Copland's Fanfare For The Common Man as made famous be ELP. Shaun Holton's smooth, double-tracked vocals are perfect for this atmospheric song, as is American virtuoso Vikram Shanka's synth embellishments. Holden demonstrates he's no slouch on the drums and the soaring Middle Eastern flavoured finale would have not been out of place on one of Steve Hackett's more recent albums.
And speaking of Steve, younger brother John plays flute on the heavenly A Sense Of Place, accompanying Shankar's understated piano playing. One of the album's finest offerings, Holden credits the "melody idea" to John Williams in the CD booklet although to my ears, the orchestrated synth theme is reminiscent of the Disney ballad A Whole New World composed by Alan Menken.
The second mini epic Burnt Cork And Limelight almost continues where the previous track left off with superb piano from Shankar, backed by Holden's strident keyboard orchestrations. The song recounts the tragic murder of 19th century English stage actor Wiliam Terriss which accounts for its sombre tone. The ambitious mid-section with simulated strings and strident percussive effects ventures into Igor Stravinsky territory. In contrast, the finale is gloriously uplifting in a Yes kind of way.
Jones once again passes the vocal mic to Holton for Agents, a reference to the assassination attempt in England in 2018 by two Russian agents which made headline news. The song's sinister subtext is conveyed in the staccato arrangement with stabbing keyboard chords. Luke Machin contributes some nimble guitar phrases and Jones ramps up the tension with blistering organ and saxophone. Based on the premise that romance does not always flourish in Paris, Fini is a bittersweet song, enhanced by Sally Minnear's Celtic lilt. It's a beautiful performance, conveying a sense of showtune drama and shades of Mostly Autumn.
The instrumental Proximity relates to Earth's distance from the sun, essential for its geology and atmosphere. It was arranged by Shankar and the dramatic keyboard arrangements, along with a heavenly choral sequence, provide the perfect soundtrack for an imaginary film. The album concludes with the suitably uplifting Chance (Under One Sun) with Jones in fine, emotive voice. It's perhaps the album's strongest song with jangly acoustic guitars, rich backing vocals and a grandstanding solo from Machin. The infectious vocal arrangement recalls a little known 2003 album by Caravan founder Dave Sinclair called Into To Sun.
Proximity & Chance is another fine album from John Holden, and in addition to the production and mixing, he is also responsible for the album artwork. His talents are seemingly limitless. I can only reiterate what I said in my review of Kintsugi (with a few additions), if you like Big Big Train, Dave Bainbridge, Lee Abraham, Robert Reed, Downes Braide Association, That Joe Payne, Neal Morse, Anthony Phillips, The Enid or any of the above-named bands and artists, you should listen to this.