Yak: The Pink Man and The Bishop

Martin Morgan’s revival of his keyboard-driven symphonic progressive rock project, Yak, brings forth an exciting new album titled The Pink Man & The Bishop after a long hiatus since 2015. With their previous album, Quest For The Stones, Yak first caught attention in 2008 with the release of Journey Of The Yak, impressing listeners like Rick Wakeman with a remarkable blend of Steve Hackett-style guitar and lush retro keyboard sounds.

First established back in 1982, Yak was formed by a group of musicians who gathered in different settings to create instrumental music inspired by their progressive rock idols, despite fizzling out in 1984. The band resurfaced officially with the release of Dark Side of the Duck in 2004, leading to a reunion that solidified after bassist Gary Bennett and drummer Dave Speight joined.

In 2016, Martin took a step back from music to dedicate his time to the Tower Hill Stables Animal Sanctuary, supporting over 500 rescued animals across four sites. However, spurred on by their original drummer, John Wynn, Martin delved back into creating music using modern technology, leading to the development of new material for the latest album.

Yak’s music is unmistakably classic, blending keyboard-driven symphonic progressive rock elements reminiscent of iconic bands like Camel, Yes, Genesis, and early King Crimson. Martin skillfully crafts sonic landscapes accompanied by synthesized guitar sounds that evoke drama, creating a distinct signature style that permeates their discography.

The album’s title, The Pink Man & The Bishop, takes inspiration from the soft toys Fiona Oakes brought home from a charity shop years ago, featuring on the CD artwork alongside a whimsical scene from the past and a symbol of a Crimson Camel on the back cover. The charmingly quirky nature of the album aligns with Yak’s English whimsy and grassroots essence.

Opening with the title track, The Pink Man & The Bishop, Yak sets the tone with towering keyboards reminiscent of Marillion, leading into soaring guitar solos akin to Steve Hackett and Camel. Crimson Camel follows suit, weaving exquisite guitar melodies reminiscent of Andy Latimer with profound organ chords and dazzling synths, creating a captivating journey.

Heaven’s Gate exudes a serene quality with magnificent organ notes juxtaposed against expressive guitar passages, hinting at a message of resilience in troubled times. Long, Long Ago evokes nostalgia with dreamy keyboard and guitar interplays, transitioning into jazzy textures reminiscent of Camel’s style, while Maddox Street immerses listeners in a fusion of jazz and rock elements.

The album concludes with The Best Years, reflecting on past memories with a dynamic interplay of guitar and keyboard melodies, underscored by a pulsating rhythm section. Bonus tracks like Aragorn revisit Yak’s earlier works, infusing Richard Wright-style piano melodies with trumpet and flute-like synths for a majestic finish.

In essence, The Pink Man & The Bishop encapsulates Yak’s profound musical depth and eclectic influences, delivering a truly immersive listening experience that harkens back to the golden age of progressive rock while carving out a unique sonic identity for the band.