I love progressive music, but I don’t listen to prog rock that often. I have my staples mainly with Kansas, but I get my prog kicks in progressive metal most of the time. As I have been doing reviews, my horizon has expanded, showing me cool stuff that I never knew about or too scared to try. To be honest there is something intimidating with prog where in the small pockets of time in the modern world, it is easier (an more therapeutic) to listen to a quick hitting thrash or death metal album than an hour plus epic. Even so, there is a time and place for the majestic.
Neal Morse is synonymous for the prog rock genre and until now I have not gotten to know his work. He rose to be one of the luminaries of the genre founding Spock’s Beard and Transatlantic in the 1990s and working with great names in the genre. His conversion to Christ in 2002 led to a radical change, launching a solo career with a focus on his newfound faith. He has had quite a prodigious output of Christian concept albums over the years, however, “No Hill For a Climber” is a unique collaboration for Neal. He gathered together young talent from his Nashville hometown to inspire new music, casting a wider net of influences to create this next proggy masterpiece.
Listening to the album, I am reminded of many artists such as Kansas, TSO, Savatage, Pink Floyd, Modest Mussorgsky and even Lengsel’s “The Kiss – The Hope.” Guitars and synths weave in and out through knotty syncopated progressive passages with the bass often joining in the chase. The drums do an excellent job in support and directing the traffic through a rather organic tempo environment. Additional horns and other instruments create great depth. Vocals switch between Neal and Chris Riley, but stick to a melodic rock style with theatrical effects as the song requires. The music is quite narrative and dynamic, only pulling out epic majestic moments when needed, something I think many symphonic metal bands should learn. Although the playing is excellent, it is the writing that is mesmerizing.
The album is like a sandwich with two hefty epics on either side of three tasty tracks that act as a breather from the more emotionally and intellectually demanding epics. The first of these is “Thief” which starts with a bluesy jazz combo that reminds me a little of film noire and Lengsel’s odd “The Kiss – The Hope.” Harmonizing vocals hearken to the 70s that preempt a shift into a chaotic and chromatic rock section. The precision is so exact, demonstrating the caliber of the musicians. “All the Rage” starts with an urgent rhythmic synth riff that slides into a reflective rock song that alludes to the busyness of the modern world with a sweet nostalgic melody floating in the bridge. “Ever Interceding” is like the little brother of Kansas’s “The Wall” in almost all aspects. This is not a bad thing. The acoustic guitar and slow building of the song with reflective lyrics questioning, praying, and contemplating Jesus’ relationship with us.
The epics are constructed so that the modern attention deficit listener can appreciate by having distinct sections that are melted together. “Eternity In Your Eyes” opens the album and follows, in my mind’s eye, the dawning of a new day starting with a darker feel, slowly building up towards a bright and sunshiny closing, with varying musical swells on the way forward. The tune in the first beginning threads through the song and is harmonized a little differently to give that sense of change as the dawn approaches. The ending is victorious and well-deserved.
“No Hill For A Climber” follows a similar form with an overture leading into the first stage of the journey. It feels like climbing a mountain, beginning with the foreboding opening minutes that consider the ascent ahead, but as the song progresses, small victorious moments emerge as encouragement for our imaginary climber to keep going. The “Burn It Down” section has this irregular meter that is so infectious yet understated and oddly enough is the most memorable moment on the album for me. Building to the triumph, a moment akin to Mussorgsky’s “The Great Gate of Kiev” comes through leading into some reveling of the victory with guitar noodling and the exposition of the grand finale motif, concluding with a chamber ensemble version.
To give a score to this album is incredibly difficult. Technically, musically, artistically and lyrically, this album nails it. It is a profound work and perfectly executed. Even the message for the album spawns in me many prayerful conversations with Our Lord. However, the richness diminishes its replayability and that is my only fault with this album. Otherwise, for those that are a fan of progressive music, this is mandatory listening as one of the best offerings from 2024.
Rating: 9.5/10
Written by Sean Bailey
Tracklist
1 – Eternity In Your Eyes
- Prelude To Eternity (Instrumental)
- I See The Sun
- Northern Lights
- Echoes Of Forever (Instrumental)
- The Dream’s Still Alive
- Hammer and Nail
- Daylight
2 – Thief
3 – All the Rage
4 – Ever Interceding
5 – No Hill For a Climber
- The Mountain And The Valley (Instrumental)
- A Hill So High
- Burn It Down
- Love Is All
- The Resonance
- The Mountaintop Beyond The Sky
Neal Morse & The Resonance is:
Neal Morse – Keyboards, Guitars, Bass, Percussion, Lead and Backing Vocals
Chris Riley – Keyboards, Guitars, Bass, and Lead Vocals
Andre Madatian – Guitars and Orchestration
Johnny Bisaha – Lead Vocals
Philip Martin – Drums on tracks 2, 3, 4 & 5
Joe Ganzelli – Drums on tracks 1, 2 & 5
Chris Carmichael – Violin, Viola, and Cello
Amy Pippin – Background Vocals
Julie Harrison – Background Vocals
Chris West – Trumpet and Flugelhorn
Desmond Ng – Trombone and Euphonium
Release Date: November 8, 2024
Record Label: Radiant Records
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Videos for ‘All The Rage’
Video for ‘Thief’