Hollow Horse were one of the bands that inspired the creation of Indie Launchpad, and in fact were one of the first bands reviewed. And I can't believe I'm saying this, but that was nearly 20 years ago. The last time I reviewed them was 2008s release, Escaping from a Submarine, made all the more personal with a thanks on the sleeve notes. Time passes and life has a habit of getting in the way. I'd emailed with Kenny, the band's creative force, many times over the years, asking about new music, then life got in my way and... well here we are nearly 20 years later, getting back to something I love.

I finally got around to re-developing Indie Launchpad last year, and I think it was in October of last year that I discovered a new album from Hollow Horse. Slightly late to it, but it was so good to see them back to making music. It's a very different world we find ourselves in now. I no longer had to hound the band for MP3s or a CD, I just opened up YouTube Music and there it was. I plugged in my headphones, called the dog for a walk, and I was off.

This album is a very personal one. Kenny's bassist and long time friend of 45 years passed away suddenly and as is often the way with art, the outlet is often new material, which sometimes help to try make sense of it all. Hence, the title of the album, Leaving Without Saying Goodbye.

The album opens with May the Scales Be Fair and the Weights Be Equal, quite the mouthful and at first I wondered what I was listening to, but then just over 40 seconds in, there was the sound I was used to, and I was hearing that classic Hollow Horse sound anew for the first time in many years. Their sound has developed as you would expect after so many years, but there's no mistaking Kenny's vocals.

I'll Help You Carry, was something of a departure and came totally unexpected, even though there were hints of it on the previous track. Front and centre was a new voice, clear, crisp and sweet, that of Suzanne Enterkin-Grogan. And in fact, I'm assuming it's her sister Sophie Louise who provides additional backing vocals. I have to admit it threw me for a loop, but was a most welcome surprise.

O After L, V before E continues with all the hallmarks of a classic Hollow Horse track, light and breezy, and similar with If You Don't Ask You Don't Get, but the other side of the coin, more reflective and poignant.

The world at present is a crazy place, aptly summed up by the title of the next track, The World is Full of Idiots. Following that is the strangely titled Cakes and Circuses, Foxes and Crows. Not sure where that title came from, but the song motors along.

I'm Building a Scarecrow again features Suzanne on lead, with Kenny providing a mere hint of backing vocals. Another poignant track, using the scarecrow to keep love away, an apt metaphor.

Wasn't totally onboard with Harbinger, with its much darker tone. Understandable maybe given the vibe of the album, but was maybe a little too dark for me and not the Hollow Horse sound that usually eases my soul. This leads into What Was it About Her, another darker track, but with a more mesmeric twist, with Kenny and Suzanne sharing turns as lead and an almost hypnotic piano accompaniment. Railway Station continues the more downbeat turn and in itself an interesting metaphor. Love the trumpet accompaniment here and indeed on prior tracks, in this case evoking factories pumping smoke from their stacks and wet cobbles roads.

Strangely enough, one of my highlights on the album is the mainly instrumental The Theory of Chaos. I always have to be careful when I use this word, but it has that sense of monotony. Something that I always seem to find comfort in, when done right. Going off on a tangent, I once recorded the Who's, Won't Get Fooled Again, but just the synth/organ intro that usually lasts about 30 seconds, and the solo part which usually lasts about a minute. Now this is old school, I spliced the tape and created a track that took the whole side of a tape and just couldn't get enough of it. There's that same things present here. Full vocals don't come in until around 4 minutes, but they don't detract from the moment and that onward march.

We then get to Leaving Without Saying Goodbye and rather than dark and sad, get something much more melancholic, again with that onward mark towards... I don't know, resolution? Comfort? Memories?

The album ends with Never Trick Me with a Kiss, and if I'm honest, this is probably the only track that didn't gel with me. It has a very different sound to the rest of the tracks, kind of lo-fi home recording demo vibe, and maybe it is, but it seems a strange way to end the album. That being said, I can image it on the album, but as a hidden track, that starts after 4 minutes of silence.

On the whole, a cracking album and a great return after so many years. Here's looking forward to much more music to come. *wink*