Here is another one of my pet favourite bands, Mike Morton being an example of the more talented vocalists available in Progland, with a series of albums that were of very high calibre and exemplary ratings to match, though the previous “Antenna” (2019) was a step down according to many pundits including myself (I felt that the cover art was the most laudable trait). Back in 2026 with more lovely artwork, a spanking new crew and a few celebrated guests, namely the Hackett brothers (John and Steve) as well as bassist Jon Poole of Lifesigns fame, the excited rubbing of my hands forced multiple immediate auditions and a swift review while the blade was still hot.
Just the instrumental “Overture”, lasting nearly 8 minutes was enough to send me into exultation, a perfect showcase for introducing the thrilling guitar work of Cristiano Tortoioli , Eliot Minn scintillating keyboard style, a nimble bass guitar under the guidance of Jon Poole (who will also be featured on track three), while drummer Chris Taylor balances detail with thunder. The Hackett guitar solo is instantly distinguishable and , as per norm, Steve excels in the art of making his instrument emote.
After such an opening whirlwind, what better title than “Coming Down to Land”, initially piano and voice, and what a fine vocal Mike Morton unleashes on this sensitive mood piece, also garnished by Keith Buckman’s sprawling fretless bass! The elevation relies on some clever background orchestrations, combining even more depth to the sensitive ballad, Minn’s whirling dervish organ rant notwithstanding, while Morton shifts to more expansive vocalizing. Tortoioli squeezes out some curling guitar lines to keep everything effectively aligned.
From here on in, there is a noticeable shift away from progressive rock, steering into more adult rock orientations. The rhythm section is thrust forward on “Baby Blue Eyes”, providing a pugnacious foundation on which the remaining three can seek out some welcome venom to spew, coming out of the haze, like some fight song to encourage the will to gain victory over an innocent child time memory. The bruised piano finale is exquisite. For a few seconds, I thought ‘Won’t Get Fooled Again’ by the Who was interrupting the set list, but it was just a tease, as “Sweet Bird of Youth” comes through loud and clear, as a reflection on the distant past, looking back many years on assorted ‘vagabond’ follies. The prototypical slight country Americana feel comes across once again (it was what made the debut ‘Awake and Dreaming’ such a special pleasure) , and it works again here. Maintaining the bluesy mood like sweet warm rain, “Lay Your Heart on Me” takes its time luxuriating in forlorn restraint, Morton singing his agony with conviction, the crystalline guitar and swooshing organ both shimmering above the swamp, a definite Muscle Shoals feel. Keeping in context, albeit altering the stylistics ,“Yours Sincerely” is the obligatory rocker, electric guitars up front and center, before diving into another personal letter that begged for resolution. Morton delivers a splendid vocal performance , yet this is by no means anything out of the ordinary, just well-played adult rock music. The piano and voice finale is dramatically poignant. Supremely restrained, “Evensong” is again led by the two main protagonists that ended the previous track, its drop dead beautiful, like sitting in a smoky lounge and reminiscing about life’s foibles, a friendly bottle of aged single malt not to far from the keyboard, fueling the fire.
For 9 and a half minutes ,“ Love Is Where We’re From” concludes this release with a deliberately expansive piece, the spotlight returning to more proggy adornments, the synthesizers reappearing after taking an extended break, and the bass sticking its head out of its lair with another terrific refrain. ‘As the curtain starts to fall’, the Morton seduces once again, while the extended instrumental effort is expansive, bombastic at times and outright magical.
A very good album that nevertheless cannot compete with the band’s first three albums, as ‘Awake and Dreaming’, ‘Land of Shadows’ and ‘Why the Sea is Salt ‘ are not only critically acclaimed albums, but they still sound relevant today, at least in terms of progressive rock. The band has decided to move to other realms, it’s definitely their decision. The first two tracks and the glorious finale is what makes this band worthy of our attention, and in my humble opinion, an entire alum in this style would have been a masterpiece.
3.5 Life spans