THE UNCROWNED KING - ACT 2

This is part two of The Uncrowned King, Acts 1 and 2, and a great follow up it is. While it is harmonious and consistent extension of Act 1, Act 2 expands the musical direction in a more powerful rock oriented direction than its predecessor. The whole project by their own description is a rock 'opera', and Act 1 was definitely oriented to the melodic, lyrical, symphonic end of the spectrum; However, Act 2, while keeping these melodic and lyrical sensibilities, definitely seems to take a shift towards Neo or Crossover progressive as many of the compositions have a tighter, less meandering structure, and a stronger more forward rock guitar styling, and more choruses and lyrical hooks. That being said, the arrangements still have plenty of variety within them, and although much of it is guitar forward, there are still plenty of synths to be enjoyed. In their previous efforts, much of Evership's songs have had a quite a bit of 'complexity', but some of these more powerful orientated songs in this set seem a bit more readily streamlined and accessible, but effective and enjoyable never the less. While a bit of a new direction for them, it is probably a logical progression as artists, and appropriate relative to the concept of the 'opera' as it builds to its conclusion. So, here are my impressions of the songs in Act 2...

The Voice of the Night: A short intro piece that sets the opening tone, quiet dark eerie start, soft acoustic guitar, followed by almost supernatural synth, and then a haunting vocal that all builds up and then fades into the following track. In its context we need to keep in mind that this not just the beginning of Act 2 but it is also the follow up to the last track of Act 1, which is definitely the most, if not the only, 'pop prog' song Evership has done in all their albums, so it's quite a contrast and mood change if one is listening to Acts 1 & 2 back to back. (8/10)

Missive Pursuits: This is the first of three tracks that come out guns blazing, with a big stand alone guitar riff to start the song. Propelling drum work helps power this one along with a running build up of synths. This is powerful song with the vocals over the top, energetic from beginning to end. While the previous song had a certain density with the instruments interwoven and blended, this one feels just the opposite, very stripped down, with each instrument sounding clearly defined and separated, racing side by side to the finish line. (9/10)

The Law of Ages: After the previous energetic ride, the pace drops into full ballad mode starting with lovely piano and beautiful vocals. After two minutes a pensive violin joins in creating an 'Eleanor Rigby' like feel, and then around 3:20 the violin comes more to the forefront, adding to the feeling of melancholy, and then a big guitar solo cuts across the bow changing the mood creating a dramatic instrumental bridge leading to the concluding lyrics of the song. A very nice ballad, but the best one is yet to come! (9/10)

Coronation: The second of the three tracks that bounces out of the gate with a compelling lead guitar riff, that plays in and out of the track powerfully throughout, always with equally forceful synths wrapped around it and competing against it. Interestingly, this track has flashes of eastern rhythms and flavor surfacing here and there, but never fully goes in to that territory. Once again, strong vocals over the top, with memorable lyrical choruses, one of them being "things are good enough". Yes, indeed they are. This one is big and brash, definitely a rocker, but with enough prog sensibility to keep it a compelling listen. (9/10)

The Voice of the New Day: Appropriately enough, this starts with morning sounds, birds and such, and then springs into a bold vocal over up-tempo regal sounding music, a proclamation of better things! Quite a contrast to the foreboding of the opening track 'The Voice of the Night'. Of note, the center portion of the song has a very pleasant folk feel that is quite enjoyable. (9/10)

Nobody: For me, this the crown jewel, the centerpiece of this whole work. I have to confess I am a big fanboy for ballads, especially those that build up into power ballads, and this one is just an outstanding beauty. This song alone is worth the price of admission for the whole album. In fact, I would easily nominate it for ballad of the year if there was such a category, and probably rank it in my top five songs for the year altogether. The vocals start in a heart rending style and gradually build up to a powerful tour de force of emotion, and finally taper off again. The chorus in part, "And I'm becoming a nobody. Is that what you want for me? I think so, I think so." is memorable and emotionally captivating. This track is a key piece in the development of the 'opera' story line of Act 2, yet certainly works as a stand alone song. The musical accompaniment is beautiful, starting with acoustic guitar, builds up with drums and soft synths, and intensifies as it develops into restrained and then more dramatic electric guitar soloing with accompanying synths, and then in conclusion drops off to a softer but decisive close. It's interesting that on first listen this song created an immediate connection, and upon repeated listens it occurred to me that there was a certain tonal familiarity in parts of it although I couldn't put my finger on it, and then it jumped out at me. Notably, focus in on the musical textures starting at 2:12 and 5:42 and see if it doesn't conjure up milli-flashes of deja vu of the Rain Song from Led Zeppelin. Whether you agree or not, in any event, this song should become an Evership classic, and hopefully garner this band the appropriate accolades. (11/10, yep - 11)

Fading Away: The third and final track that starts with an upfront guitar riff. I can't quite explain why, and I can't quite shake this impression, but once the vocal begins it almost sounds like something in the wheelhouse of 10CC, this a bit more rock oriented and progressive of course. And yet, still operatic as this is a more vocally driven track. (8/10)

Uncrowned: Starts with positive themed a capella vocals reprising the 'new day' theme, then powerful guitar quickly chiming in, then changes course to nice play of wash board riffing, high key piano notes. The story theme is reaching its finale, with grand lyrical and vocal build up. Enjoyable synth ending to lift the track just a notch higher. Another feel good experience similar to 'the voice of the New day". (8.5/10)

Pilgrim's Response: Being mindful that this final track is not just the conclusion of Act 2, but the conclusion of the overall arc of Acts 1 and 2, it is well done. Not overly bombastic, in fact, rather restrained actually, but lyrically the traveler's questions have been answered, and it closes out the 'opera' in a fulfilling way. Musically it starts with a soft instrumental build up starting with pensive piano and minimalist synth underlay, and about a third of the way through it reprises themes from the opening track of Act 1 where all the traveler's questions are being asked, neatly tying everything together. Bravo! (9/10)

In conclusion, another very strong showing by Evership. One can certainly enjoy Act 2 alone, but if you have the time it makes sense to enjoy Act 1 also and take in the full 'prog opera'. Truly well done, as Act 2 draws on themes musically and lyrically from Act 1, but evolves refreshingly so it does not become a repetitive clone of the first half. While Act 2 comes off as a bit more rock oriented and edgy than Act 1, it never loses sight of its symphonic and art rock sensibilities. All the goodies are here, emotionally stirring guitar work, big bass chops, first rate drumming, and all the synths you can want, and a few other instruments for good measure. While musically, there may be some flashes of drawing on past works of others, their sound is unique and stands alone. I rather enjoy spotting who may have influenced them to some small degree as I have shared! Undoubtedly, there are more to be found.

It would be remiss not to point out that Mr. West's vocals are superlative throughout. Undoubtedly, he is one of the best vocalists in the business! And, just a thought on the lyrics too. Clearly, there is a story line here, but that being said, the lyrics are composed in an enigmatic styling that allows the listener to some degree to shape and take away their own interpretations of the meanings. Being able to compose this way is a big talent, and the reward for the listener is that they can potentially take away something different each time they give the album a spin. I am pretty sure, if you listen you will do so more than once, and you will see for yourself. If you haven't explored Evership's discography before now, this is a great place to start. For me, this is a very strong four star effort, highly recommended!

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