MOSS GREW ON THE SWORDS AND PLOWSHARES ALIKE

Reuniting some of the cast from previous Maudlin of The Well albums, Toby has stepped back into relativity with this, at times, stunning album.

1. "The Knight Errant" (8:21) a fascinating ride: high energy, yet, on cruise control the whole way--and narrated by an angry man with something to say. Could have used a little more variation in tempo and themes. (17.5/20)

2. "Brethren of the Cross" (8:20) engaging both musically and lyrically, the key and tempo changes are fresh and unpredictable--which makes me want to come back to it more. The instrumental seventh and eight minutes are awesome as the music slowly deconstructs. (18.5/20)

3. "Void in Virgo (The Nature of Sacrifice)" (9:10) definitely has a moTW feel to it despite its more modern/recent Depeche Mode-like synth wash treatments. The lead guitar work is my favorite element but the chord and key changes are also awesome. From the opening with Simon Raymonde (Cocteau Twins)-like rolling bass play and the guitar's melodic foundational chord progression, I am into this one. The sensitively sung lyrics and interjection of 80s synth sounds are wonderful. As a matter of fact, it's an extraordinary vocal performance--one of my favorites by Toby Driver in a long time. Great lead guitar play by Greg Massi--even as the walls of sound thicken. Awesome song! Great ending! (19.5/20)

4. "Spectrum of One Colour" (4:57) uptempo and fast-moving, this one sounds like a Billy Idol song. Interesting how Toby's dominant bass and the guitar's chord play weave around each other. I'm thankful to be able to understand the scream vocals, however, since I have trouble (or an innate lack of interest in) hearing words, the deep impact of the song is lost upon me. Love the oscillating synth work in the final section. (8.5/10)

5. "Get Out of the Tower" (7:06) that murky, echo bass of recent KD albums anchors a more moTW music structure-- even more emphasized by Toby's screaming vocals. (I think he's actually angry, folks!) The "angry" Robin Guthrie guitar play is another great aspect. While I like this song, I'm not as enamored of Toby's fairly untreated vocal--it's too thin and weak (except when he gets into the growling in the second half)--this despite the fact that I can appreciate the target of his anger. The full soundscape of the second half is much better than the spacious opening three minutes. (13.25/15)

6. "The Necklace" (8:10) a song based over the field-filling drumming! Floating, droning synth-guitar wall-scapes and screamed vocals help give it its other shape and identity--with great, slow-transitioning sustained chords--but the real attention-grabber here is the drumming--especially in the first half. Cool song! (14.25/15)

7. "Epipsychidion" (13:13) the walls of cacophony--despite the use of Edge Evans' guitar tone from the early 1980s-- coupled with the scream vocals throughout the first half of this song irritate me to no end. The song improves in the sixth minute as the walls of noise are taken down and Toby sings in a human voice (sounding drained and exhausted--a reflection of the planet and it's homo sapiens?) The second half, with it's experimental sound explorations, is highly entertaining and even enjoyable. Still, I simply can't reward those first five minutes too highly. (25.5/30)

Total Time 59:17

I don't know how Toby & Company manage to release album after album in which they challenge the existing norms of what is practiced--of what is acceptable--in progressive rock music, but they do--and here, with Moss Grew on the Swords and Plowshares Alike, they've done it as well as they ever have. Definitely the most stunning display of the combination of frustrated aggression, instrumental virtuosity, and melody I've heard in 2021. In spite of this praise and recognition, I feel as if, once again, I'm faced with rating an album from this year whose song output ranges quite drastically from extremes of "pleasing" to "irritating." Were it not for the weak aspects (the growl/scream vocals and occasional lack of change or development), this might be one of my favorite albums of the year--and certainly the best experimental/post metal album. As it is, I can only go with the metrics. B/four stars; a very interesting and polarizing album to listen to (for me). I do not, however, hesitate to urge you to try it for yourselves.