I am a lucky man (wink to Keith) of owning all of this underrated but hyper consistent artist’s work, a bass and guitar man who can also compose with the best of them. Lee Abraham not only gallantly soldiers on with the esteemed Galahad, having replaced fretboard mainstay Roy Keyworth without the slightest bump in the road but he has furthermore released 10 outstanding and extremely highly rated albums, that critics have found unanimously appealing. Especially since 2019’s magnificent masterpiece “Comatose”, Abraham just keeps on giving steady chapters of undeniable quality. With “Origin of the Storm”, our valiant knight has shined his armor brighter than an exploding supernova, as this new set is his finest yet, without the slightest hesitation or doubt. He is also a shrewd judge of talent as his selected and perennial collaborators are some of the finest the UK has to offer. Let us start with the vocals. Are there any finer singers anywhere than Marc Atkinson and Peter Jones? Do you think Clive Nolan needs any introduction? Gerald Mulligan on the drumkit is a phenomenal force of nature, having been a longtime partner in crime with Lee, as well as with stints in Credo and Sean Filkins. His interweaving concussions are in perfect symmetry with Lee’s riffs, a technique that made Zeppelin famous, explicitly the legendary Bonham/Page synergy. Pianist Rob Arnold, bassists Alistair Martin and Ken Bryant keep things nice and tight, and Paul Drew adds some guitars. Besides the tremendous musicianship and pristine sound, the main quality of his style are unquestioningly, the penning of some of the most poignant melodies one can possibly dream of. This bewildering album has so many of them, the mind just boggles in subjugation. Secondly, the flow is uninterrupted and rapturous, constantly impressing images and inspirations that keep each track vibrant and heartfelt. Not a single second of impudent fluff or onerous regurgitation, the songs and the instrumental play are immediately impactful.
The instrumental title track has the honour of setting the tone for the set list, a crisp yet thoughtful romp that exudes an overt sense of positive anticipation, both imposing and deeply melodic, as Clive Nolan’s keyboards coat the canvas with a myriad of colourations, leaving Lee to scatter his electric paintbrush with flamboyant strokes, the pulse unremitting. The immediate segue into the chugging rhythmic onslaught of “The Same Life” is an immediate steam-roller stunner, that bends into a theme so gorgeous, it just may shed a tear or two. With Pete Jones’ powerfully convincing and seductive voice dominating the already off the charts main melody, the listener is frozen in time and space, outright hypnotized by the beauty of this superb track, the first of many glorious moments to come. The lyrics are highly evocative, as we all share this blue planet in common, a cry for ending all of our sorrowful tears. The acoustic guitar hands over the pathos to an ecstatic electric solo that serves only to add even more power to the arching finale, as we should all share the same feeling when listening to this marvel. Stunning.
Peter then stamps the folky “Chalk Hill” with a haunting rendition of an emotional journey of melancholy, of a time when life was simple, children playing with giggling innocence, a place where time just stood still. Where are those days now, where have those memories gone? Everything about this piece reeks of nostalgia, for a moment in time that could be so carefree and devoid of negativity. A jewel of prog-folk in the spirit of Albion with sublime harmony vocals that really hit the spot. Another crushingly picturesque melody.
“Isolation-Disconnection” harkens back to the more somber pieces of his past repertoire (think 2020’s moody “Harmony/Synchronicity” album), expertly sung by a forlorn Mark Spencer (currently the bass player for Galahad). Nolan infuses some dark synth clouds before the brooding guitar onslaught is united with a menacing drum barrage, a broiling organ undertow. A clever departure from all the previous glinting luminosity, the subdued dejection of forcible sequestration, as well as its obvious consequence of negative thoughts and the fears of an ominous future were a time where the Covid pandemic disrupted everyone’s lives, with no possible escape. The militant instrumental explosion has no antidote available, an uncompromising internment of sound that has only one purpose to disconnect completely from the world as we had previously known it. Lesson learned, let us not take anything for granted anymore.
On the floating embrace of “Hole in the Sky”, Atkinson delivers another one of his patented passionate performances, aided by Rob Arnold emoting on the ivories. Needless to stress the quality of the ornate melody, all elegance and intuition, as an acoustic guitar caresses the soul, followed by an electric flurry to underline the need to repair the damage done.
When Peter Jones croons, one listens with bated breath, as his convincing tone is perfectly adapted to the larger-than-life “When I Need a Friend”, a profound song that cries out for attention, innocently agreeable to any ear that yearns for uncomplicated devotion, and the unconditionality that only true friendship can provide. Yes, there is a special kind of love that remains pure and eternal, the only one you could possibly depend on. Loneliness cannot prosper if all you need is a mate. Just one is enough. The Beatles and Joe Cocker now have a modern version of their famed message. What a performance!
The epic finale “Siren’s Song” is not only the apotheosis of beauty on this disc, and not only of Abraham’s extensive career but I daresay, in recent prog history, an anthem of surreal proportions and a surefire label of classic. Needless to repeat my personal admiration of Atkinson’s unique set of pipes, here is a man who sings with such passion and integrity that I feel the need to get on my knees in adoration (listen, die and go to heaven) every time he grabs that darn microphone. His display here is lethally urgent, melting the most rabid and robust stone-cold heart into a puddle of glee. But its the details that really leap out, such as the inclusion of upbeat riffing that adds and elevates the power and not the metal, unexpected but most welcome, what with that slight touch of mellotron to hint at grandiose deliverance. A work of genius moment on a masterpiece album.
Unequivocally no contest in getting this on the podium for best album of 2024, even with the absurd competition of an incomparable prog vintage, this album is an exceptional bottle of wine that needs to be ceremoniously sipped, fondly swallowed and permitted to soothe the crowded mind.
5 Seeds of thunder
