It was clear from the first album by Vega Trails, Tremors In The Static (Gondwana, 2022), that bassist Milo Fitzpatrick had struck gold. That album was a duo collaboration with all-rounder Jordan Smart. Now, for the second Vega Trails album Sierra Tracks, Fitzpatrick has broadened the instrumental palette. The result is a series of quite magnificent musical landscapes.
Three and a half years ago Fitzpatrick upped sticks from London, leaving the big city for country life near Segovia in Spain – in the foothills of the Sierra de Guadarrama – after which Sierra Tracks is named. The place has obviously given him a great deal of inspiration; new music just keeps on coming.
Fitzpatrick felt that the new music needed more than just the fantastic contributions of Smart, despite their interplay already being a musical world. He initially asked keyboard player Taz Modi to join him – his band-mate in Portico Quartet, of which Fitzpatrick as co-founder is also still a member. The three of them now form the backbone for most of the compositions, with Harriet Riley playing vibraphone on some tracks, plus Dan See on drums.
While writing the music for the new album, Fitzpatrick also rediscovered his love for the cello, an instrument that he had neglected due to his outstanding bass playing. He got in touch with Hania Rani, who was busy writing a large piece of music for orchestra, and decided to expand his band further for the second album.
Ultimately, he shared a 10-piece string ensemble with Rani in Warsaw, where Rani was also recording. Fitzpatrick’s pieces for Vega Trails have always been cinematic in design, but the addition of the strings gives this second album even more colour.
Largo is a breathtakingly beautiful opener: with a composition that brings together all the musical growth of Fitzpatrick and Vega Trails. The decision to expand the instrumental trio comes to full fruition with impressive form, full of beautiful musical twists and turns. Follow-up track Els is such a skilful composition it doesn’t leave you.
At only two tracks in, the new Vega Trails sound is already manifest. Next is the powerful, more up-tempo, Murmurations which features an extra bite in the build-up alongside the arrival of percussion and another triumphant string arrangement.
Dream House is spacious, with piano and vibraphone merging into harmonious form. Then comes Clarifantasia, which, thanks to Modi’s beautiful piano playing, dives into contemporary/new classical-meets-electronics. The Reverie, played entirely by strings, sounds just as good. An arrangement so subtle and pure, it melts the heart.
Murmer builds to a similar level with the strings, although the interplay of a strumming Fitzpatrick and Smart is essential here. Old Friend, The Sea continues that musical line with its atmospheric arrangement full of strings and an intriguing interplay between the double bass, piano and vibraphone.
The broader, sonic canvas of Sierra Tracks means that Fitzpatrick does not always have Smart as a musical companion, but the two maintain a wonderful professional friendship. Smart has never sounded as good as he does in this band. He plays his most beautiful music on the impressive When This Is Over. His characteristic sound – here on the bass clarinet – is masterfully integrated with Fitzpatrick’s keyboard, synthesiser sounds and powerful strings.
Sleepwalk Tokyo, a ‘narrative’ about his sleep problems when travelling to the East, brings the album to a strong close. Fitzpatrick once again shows what a talented bass player he is, while also taking charge of all the other atmospheric instrumentation.
Sierra Tracks is not only the album one might have hoped for after the beautiful Tremors In The Static, it is much more than that; Fitzpatrick has almost created a new musical genre. Sierra Tracks gets under the skin from the first listen… and then finds its way to the heart.
Sierra Tracks is released today 28 March 2025.
