“It is very welcome news that Martin Morgan has resurrected his keyboard-led symphonic prog rock project Yak, with an excellent, new album called The Pink Man & The Bishop.

It comes a decade after 2015’s Quest For The Stones, with their seminal Journey Of The Yak album dating from 2008. It was that album that drew my attention to the project – I remember Rick Wakeman playing a track on his Planet Rock radio show back then. I loved the Steve Hackett-style lead guitar sound and the rich, retro keyboard wash that accompanied it. It was only later that I realised that Martin emulated the guitar on keyboards… but the sound was truly beautiful.

The roots of Yak go back to 1982, with a group of musicians getting together in various cottages, studios and rehearsal halls in the south of the country, creating instrumental music in the style of their progressive rock heroes, but things petered out in 1984. However, the release of the first official album, Dark Side of the Duck in 2004 saw a reunion of sorts, although it was only with the recruitment of bassist Gary Bennett and drummer Dave Speight a few years later that the more known incarnation of the band appeared.

2016 saw Martin retire and devote all his time to help run the Tower Hill Stables Animal Sanctuary, looking after over 500 rescued animals over four sites. Not surprisingly, the music took a back seat, although Martin has continued to dabble with new computer technology (or the ‘dark side’ as he likes to call it) and encouraged by the band’s original drummer, John Wynn, has produced enough new material in recent years to release a brand new album (along with a re-working of a track from the very first album and another mini-epic from a few years ago).

The music is unashamedly classic, keyboard-led symphonic progressive rock, with the spirit of Camel, Yes, Genesis, Steve Hackett, ELP, The Enid and early King Crimson, with smatterings of the 80s neo-prog of Marillion and Pendragon amongst others. Martin lays down an impressive virtual rhythm section, with the emulated guitar sound adding drama to the lush, instrumental keyboard soundscapes. Although embracing Martin’s traditional prog rock influences, the music of Yak has a distinctive, signature character that runs throughout their albums.

The album title comes from the time that Martin’s partner at the Sanctuary, Fiona Oakes, brought back home two soft toys from a charity shop many years earlier, which were christened The Pink Man and The Bishop. They appear on the CD artwork, in front of a pastoral, village green scene from the past, and then facing the future on the back cover, in the form of a Crimson Camel of all things. It’s delightfully quirky and surreal, with Martin reminded of Terry Jones’s The Bishop sketch from Monty Python. Well… what do you call instrumental tracks anyway? It all fits wonderfully into the English whimsy of the project and the grass roots nature of Yak.

The album kicks off with the title track, The Pink Man & The Bishop, and is archetypal Yak. Lush, resonating keyboards reminiscent of early Marillion, create an atmospheric soundscape, propelled by a stately drum pattern and rich bass notes before a soaring guitar rises high with echoes of Steve Hackett and Camel. The rhythm shifts and quickens from 4/4 to 7/8 and 7/4 as the keyboards once again take the lead and are full of sparkle and effervescence. Crimson Camel, as the title suggests, is a gorgeous track that sprinkles elements of Andy Latimer-style guitar, along with Robert Fripp-like nuances. The yearning opening guitar solo, over a simple piano-led melody is pure Camel, and gradually gains a more uplifting feel, with the supporting rhythm gaining speed and organ chords and dazzling synths in the mid-section. The guitar solo is reprised before a gentler conclusion with thoughtful keyboard notes and some bubbling bass adding a calmness.

Crimson Camel by YAK Heaven’s Gate has a more reflective and melancholic tone. Stately organ dominates, giving an almost religious quality, over which the guitar takes flight – all backed by some nicely judged percussion. Martin envisages a drowning man, on the verge of dying, but who refuses to give up – in the same way that we mustn’t give up on our hopes and dreams in spite of all the fake news, opinions and negativity threatening to drown us these days.

There is a nostalgic, contemplative quality to Long, Long Ago, with keyboards and guitar sounds intermingling to create a dreamy, almost retro-feel, before a switch to a more up-tempo, jazzy, Camel-style mid-section, full of Moonmadness allusions. The track returns to the original theme, with stabs of organ, chiming keyboards and some nice choral effects adding a wistful ambience through to the fade.

Maddox Street begins with a swirl of sound, reminiscent of swarming wasps, before bass and organ take us through to an undulating soundscape full of jazz/rock fusion-like sounds. The Keith Emerson-style organ is complemented by an array of guitar and synths sounds. Once again, Martin has created a vibrant bass and drum rhythm that underpins all the progressive rock exuberance. The title apparently alludes to the old Rolling Stones offices in Mayfair, but maybe it captures an urban mood rather than any R&B reverberations.

The main album ends with The Best Years – a retrospective look back to past times, inspired by a more recent school reunion-type WhatsApp group. Once again, the sumptuous stabs of organ anchor proceedings over which guitar and keyboards twist and turn effortlessly, with bass and drums adding a pleasing syncopation. Deep, resonating synths and luxuriant choral effects complement the floating guitar lines. Whilst positivity abounds, the use of an augmented chord adds a tension towards the end, making us ask “Have the best years gone, perhaps?” The quiet fade also adds a touch of poignancy – almost like a musical sigh.

The full album includes two bonus tracks to end with, Aragorn is a re-working of a track that originally appeared on the first Yak album, Dark Side of the Yak, back in 2004, with the 2009 version, featuring Gary Bennett and Dave Speight on bass and drums respectively, appearing on the Tolkien-inspired compilation album The First Ring. Martin provides some Richard Wright-style piano, with trumpet and flute-like synths and guitar creating a more considered ambience, although punctuated by bursts of urgency. It all flows rather well and builds up dynamically towards the end in majestic style. “All that is gold does not glitter’ as Gandalf once described Aragorn, but this track certainly does.

I attach a music video of the 2009 version below.

The Tolkien theme is continued with Flight of the Noldor (the elven journey to Middle Earth at the end of the First Age to confront the dark power of Morgoth). Written several years ago, but never released, Martin has crafted an epic of cinematic grandeur, with progressive themes mixing with smoother, fusion-like elements, especially the bass notes. There is a more pastoral, early Genesis feel to the quieter sections, especially with touches of flute here and there. However, it is the interplay between the expressive guitar soloing and the driving organ that shapes the musical landscape. The drums provide a pleasing urgency, and I enjoyed the hints of saxophone in the synths towards the end, in the style of middle period Camel. A welcome addition to the Yak canon of songs.

The Pink Man & The Bishop by Yak is a delightful, melodic and symphonic progressive rock album that nostalgically bathes lovingly in the classic prog era and yet feels fresh and vibrant. Martin’s compositional skills impress and the interplay between the guitar and keyboard sounds is lovely to hear, and if you buy the limited edition CD, you’ll be donating to the Tower Hill Stables Animal Sanctuary as well. Visit the website for more information. Full streaming will follow later in the year.

Martin adds that, “The music was produced and recorded by pressing keys on a range of keyboards in a rather particular and precise order. I hope you find the results pleasing.”

It’s great to see that the Yak is back! Keep the music coming, Martin! ”