Obviously with a name like Thomas , my intent becomes a slight bit more acute, sharing a personal form of address with a fellow Thomas, and leaves me with zero doubt that I would gladly review this new album. I had heard Tom McKeown’s music and commented on a recent Jef Bek of the Proper Proggy Prog radio show . Lo and behold, I got a request a few days later (oh, what a surprise!) from the talented composer, multi-instrumentalist and vocalist , enquiring kindly about a review. The response was yes, what is the question again?
Instead of the usual progressive rock mini entrance, here “Overture” gets a lot of expanse to set the tone , a six minute plus infusion of what is set to follow. Overarching melodies abound, majestically emphasized with lavish keyboard barrages, silvery-lined guitar glides and forceful percussive trappings from Patrick Culligan. The immediate impression is one of typical classical grandeur that cannot in any way disguise the overt musicality of his key and fretboard work, emboldened by an evident desire to fully assume command of his release. As such, its one of the finest I have heard in a long time.
The dive straight into the highly reflective glare of “The Mirror”, a copiously crafted epic that really singes the sonic nerves to the fullest , a delightful piano romp in collusion with a burly bass line and Culligan’s crafty bashings. The main theme is immediately set in stone, with an oozing guitar phrasing that offers a little wah-wah to wowza! I could have bet my gigantic collection that a bluesy groove is heading straight for the terminal between my ears, and Tom wastes no time in segueing with a Hammond ruffled tease that has that vintage Chicago vibe. The piano and voice duet is masterfully effective as Tom exhorts ‘Who turns a monster into a man ?’, as both musically and lyrically , the lament is heartfelt ‘Save Me’ he cries. The chorus is one for the ages, an instantaneous searing into the deepest folds of one’s soul! The corkscrew guitar outro is providential and the organ rant hugely satisfying, a wonderful track, that conveys all the goods home.
“Any Wonder” has a slight PTree/Wilson vibe, deeply melancholic, lyrically inquisitive, led by a considerate bass line carving the undertow. The mid-section entrusts the listener into another thrilling instrumental rant, the organ/guitar double act causing a fair amount a sizzle before the bluesy groove reappears, the elegant piano and noble bass now taking the helm, maneuvering into an earnest yet questioning finale. A harmonium sounding finale takes this to bed.
A trio of shorter tracks keep the foot on the emotional pedal, offering a rockier and brasher countenance, “Love and Life” is rendered in an archetypical and admirable American style, the bouncy riff reverberating between that snarly organ and the wild guitar rants. Wham bam, thank you whatever! “My Silence” is the ideal transition, as it seeks to maintain that rolling vibe, the buttery axes chopping mercifully, as Tom wondering ‘if something can change in me?’. All the above sins are somehow salvaged by a plea for salvation, as Tom enquires on “Save Me”, the focus clearly on the resurrecting lyrical insights, the angelic choir work particularly palpable, shooing away all the pessimism as ‘the sun shines down’ and the guitar wailing ‘hallelujah’.
Drastic shift on the epic 9 minute “Dark Waters”, an introspective voyage ‘where no one should go’, a look back at the realization that has passed was really not conducive to any form of happiness. Leaving behind regret and despair is a herculean task, a sacrifice that every human needs to undertake, often more than once in a lifetime, the scars permanently visible, now rightfully viewed as badges of courage, proof of liberation of sorts. The sober arrangement keeps the spotlight on Tom’s voice, only the majestic choir work providing solace. But when that silky organ comes slicing through the once sombre clouds, relief is the panacea, as the jubilant lead guitar pushes towards celestial bliss. The inevitable finale is as passionate a scream as one will hear in 2025. Immensely impressive.
Reverberating e-piano is most welcome on “Something Beautiful”, a redeemed voice requesting a further life where the title should apply, permanently. A ravishing melodic prayer on redemption, not necessarily religion-centric, but rather a very human take on the purpose of life, love, art, happiness and peace. And how one can decide to accomplish serenity. The mood is minimally affluent, the choir adding just the right oomph.
The nearly 14 minute “Another World” is the grand finale, ultimately encompassing the entire preceding output into one compact message, as all the Thomas instrumentation returns for a final bow, with keyboards (that darn organ broiling again), the bass stabilizing the process, the drum keeping the foundation solid and a vocal looking finally ahead, not looking back, as it may induce doubt, the scourge of humanity, the source of suffering and the igniter of the single most devastating disease currently, depression. The instrumental segment engages one moment with full force, bold and valiant, unafraid of indecision, only to consider the need to think out loud, the vocal intertwining is absolutely magical, the lead vocal inspiring. The result is a confident advance into a future unknown, bold synthesizers wishing us fortitude, and exuberant guitars pushing for spiritual exaltation. The denouement can only achieve a sense of wholesome accomplishment and lingering valor in living a good and proper life. Indisputably, a rare occurrence in these troubled times. As an amateur historian, I can state UNDOUBTEDLY for the record, humans have struggled with agony since that Garden somewhere in place called Eden.
An amazing slice of music, with profound meaning and the chops to go with the sticks. I had no qualms about really enjoying this album, and it comes strongly recommended to all inquisitive and self-assured prog fans.
4.5 Ongoing Progressions. #thomasszirmay #progrogue