Welsh trio’s debut album is an unexpected guest at the table of surprises, as I only recently got their next 2025 album “Life Among Strangers” which I will strive to review at a later date.
The nearly 10 minute “Invictus” leads the South Wales clan into immediate synthesized bliss, with choir mellotron at the forefront, a lovely symphonic touch that seeks to emphasize a classical introduction to the brilliance to follow. Honestly, I am hooked, lined and sinkered with little resistance or hesitation. Chris Jones’ scratchy guitar flicks of the wrists combine with a rotund bass line from Steve Hughes and Jon Kinsey’s percolating percussive power, flinging the arrangement into alternate universe. Jon handles the echoing vocals with natural aplomb, while sharing keyboard duties with Steve, giving a slick electronic tinge to the exalted proceedings. When those choir ‘trons lay the spiritual foundation, Chris can fly by night into an imposing solo that lays the coup de grace to the thrill.
If one is wondering whether there is a ‘rush’ to judgement from the get-go, rest reassured, the legendary Canadian trio is a definite influence , as demonstrated by the second track “Fear is the Key” which wears its homage on its sleeves, that crunchy guitar crushing any opposition, shoved along by a bulldozing bass and drum combination. Color that with some whistling synthesizer cascades, and enough change of pace pitching to make them baseball fans (just like Geddy). Suavely crisp and cleverly imaginative, the underlying dread is palpable in every note expressed. The extended outro is first cavernous and haunting, the beat relentless at times verging on manic , before settling into soporific quietude.
I thought at first this was a celebrated Trick of the Tail classic homage, but “The Downfall of the Birdwatcher” does transition into a Punch and Judy-like puppet presentation that has a familiar vivid feel, with tons of twists and turns (hence the marionette reference) that was to be a hallmark of those Gabriel-era Genesis albums. The vocal gymnastics alone confirm this impression, at least, I felt it this way and hope the band may agree.
Next the epic dozen minutes of “Lament” probably exudes the core of this quality album, an intentionally paced and restrained exploration of emotional fortitude, garnished with sorrowful piano, sobbing guitar sweeps, and a warm, heartfelt vocal performance. As the atmosphere elevates gradually to celestial levels, the perfectly sung passion takes over and never let’s go. Orchestrations prepare the stage for the expected soloing section, where Chris sets his guitar into the shining bright spotlight and liberates his muse with a series of electric forays that illuminate the path ahead. The sultry synths provide added inspiration for Jones to boldly go beyond and emote without abandon. Beauty incarnate, as the piano remains present throughout, the faithful companion of musical romance. An absolute corker.
One needs to catch a breath of air, and “Calm Before the Storm” suggests a more philosophical outcome, as the concern over our tired planet becomes obvious with every passing season. Beginning with serenity that eventually shifts into stormy horizons , the band shifts gears with effortless impunity, accelerating into funkier rhythms that collide with cloudier dispositions, Kinsey singing with athletic authority, hitting those higher notes with ease. The ebb and flow is infectious, the elegant piano coming once again to the melodic forefront, ‘as the rain begins to fall’ . Chris let the drops tumble from his strings with dexterous affinity (very impressive technique may I add!) and as the storm picks up in intensity , the riffs and soloing rise in intensity (ed: poetry in motion). An immediately favorite thunderclap!
The nighttime coolness of “Dawntreader” arrives as a perfect finale, as the tempest clouds fade into the past, a track that provides gentle reflection on returning home ‘to warm the bones beside the fire’ and find the time to revitalize for another day. Instrumentally, the majestic sense of empathy is conveyed by a distinct lack of aggressivity, infused instead by a good measure of melodic panacea, as expressed by Chris’ effusive guitar fluidity and optimism for a finer tomorrow.
A debut album this impressive is a rare find, I feel a new star is born, as their second album “Life Among Strangers” awaits my future dedication (I have heard it already and love it).
4.5 pack triumvirates