Kingfisher Sky, the Dutch band with Prog rock influences, have now reached their fifth full-length release with Feeding the Wolves. In this entirely self-produced album, the Dutch combo takes inspiration for the title of their new work from an ancient Cherokee legend: “There are two wolves that are always fighting. One is darkness and despair, the other is light and hope. Which one wins? The one you feed.” The inner conflict and the contrast between light and shadow are recurring themes throughout this record, which alternates moments of almost pastoral calm with more electric and rhythmic passages, all while preserving the delicate balance that seems to be the band’s trademark.
Feeding the Wolves begins
Indeed, the opening track, Feeding the Wolves, is already a statement of intent. There’s a folk rock atmosphere that shines through. Also thanks to the contribution of Troy Donockley from Nightwish on recorder. He is one of the album’s special guests, along with Edward Reekers (R.I.P), former vocalist of the Dutch band Kayak, who blends his voice beautifully with Judith Rijnveld’s captivating vocals. Sometimes even singing with her in unison.
Fading away in unknown prairies
Harmony and balance continue in the following song, Fade Away. It immediately draws you in with its catchy yet sophisticated chorus. It gives the impression of soaring over vast, unknown prairies that nonetheless feel like home, carrying a lightness that soothes the soul. Within these spacious soundscapes, Edo van der Kolk delivers a beautifully executed guitar solo that turns the track into a little gem.
Which of the two wolves are we feeding now?
A very different tone defines the next song, “Nobody Else is Watching,” with its martial rhythm and oriental-tinged melodies. The line “Oh, it’s the end of the world and you know it” repeats in the chorus like a dramatic mantra, while dark clouds now cover the once-sunny plains. Which of the two wolves are we feeding now?
Feeding the Wolves shifts us into prog territory
“It’s Never End” abruptly shifts us into prog territory, with odd time signatures reminiscent of Marillion or Porcupine Tree, alternating with regular beats where the melody opens up. Judith Rijnveld’s voice climbs to almost operatic heights, charged with dramatic intensity. As she sings lines such as “She’s not welcome here anymore. Even though she’s lived here for centuries, chased away from her own home.”
Back to folk rock
With “Bess,” we return to folk rock terrain. The song is a sweet chant that wouldn’t feel out of place in a Fairport Convention or Pentangle set. A subtle syncopated rhythm, however, adds a prog touch that prevents it from drifting into pure folk territory, keeping the band’s distinct musical identity alive.
Distant Memories are here
The gentle melody of “Distant Memories” captivates from the very first notes and carries you through to the end, where the song suddenly stops, leaving no fading echo—perhaps to mirror the “distant memories” described in the lyrics, crystallized in time and confined to a past that will never return.
A message of self-trust
“Because It’s You” strikes straight at the heart with its charming 1980s vibe, reminiscent of Midge Ure–era Ultravox. The song’s lyrics carry a message of self-trust and confidence in one’s uniqueness—almost an anthem to self-esteem:
“Take a look
Don’t be ashamed
Don’t fear opinions
That should not be proclaimed
Because it’s you
And no one else.”
Something mysterious, mythological in Feeding the Wolves
The folkloric tone of “Dormancy,” accentuated by Troy Donockley’s Irish bagpipes, carries a faintly gothic, unsettling flavor—something mysterious, mythological, and ancestral in this short song dedicated to winter and the natural cycles tied to it. One can almost picture, as if by magic, Pieter Bruegel’s sixteenth-century paintings devoted to the coldest season.
The big finale in Feeding the Wolves
Prog rhythms return powerfully in Embrace the Moment, a call to live in the present, freeing oneself from conventions and constraints. At the heart of the piece, a keyboard part evokes the spirit of Tony Banks from Genesis. Every instrument feels “in its right place,” and even the boldest tempo shifts never disrupt the overall harmony. This is followed by another melodic highlight, Vertigo, leading to the stunning finale, Big Dipper, pure poetry in both music and verse:
“Gazing upwards into the cosmic sea
The ghostly light of the dying star
Arrived for us to see
A star’s farewell from a time long past
Shot from a distant constellation
No matter where we are
We will gaze upon the same stars
Glimmering echoes of time gone by
Dance forever in the nighttime sky.”
Now, the two wolves within us have stopped fighting and walk side by side across the vast prairie.
Track List
- Feeding the Wolves
- Fade Away
- Nobody Else is Watching
- It Never Ends
- Bess
- Distant Memories
- Because it’s You
- Dormancy
- Embrace the Moment
- Vertigo
- Big Dipper
Line up
- Judith Rijnveld – Vocals
- Edo van der Kolk – Guitars
- Nick Verschoor – Bass guitar and additional acoustic guitar
- Erik van Ittersum – Keys
- Ivar de Graaf: Drums, percussion, Irish bouzouki, mandolin, additional acoustic guitars, additional keys and fretless bass
- Maaike Peterse: Violoncello
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