THE UNCROWNED KING - ACT 2

EVERSHIP is the group founded in 2013 in the United States, led by Shane ATKINSON composer and multi- instrumentalist who played on CURIOUS FOOLS. He tries his hand at producing albums to continue bringing the exceptional sounds of the 70s to life in our time by restructuring them, giving them more intensity. Known in 2018, they released their 4th album in a symphonic and metallic neo-prog vein on QUEEN, YES, ROYAL HUNT and RUSH; a sequel to the acclaimed 'Uncrowned act 1' last year and the end of the pilgrim's journey on this new conceptual allegorical, come on, let's go.

"The Voice of the Night" begins majestically, religious limit on the continuation of the story; remarkable phrasing voice, symphonic instrumentation, it goes up and continues on "Missie Pursuits" with a resolutely prog metal, energetic tone; STYX in the background or even KANSAS for the voice; riff to JETHRO TULL even that makes revise its scales, the voice rises and begins to shout on a synth solo which lasts, which lasts until the fat, rhythmic guitar solo which puts your ears in the wind with brass at the end. "The Law of Ages" three-key piano arpeggio, castrati choirs, I'm thinking of MERCURY and PAYNE, acoustic guitar, energetic violins all at once; the guitar solo suddenly tears, choirs, grandiloquent air, divine I don't know but art rock yes; the melodic, progressive and beautiful AOR prog track. "Coronation" intro hard to the point that I'm lost with their own sound; metal riff, Beau's sublime voice, title with a consensual verse bringing the dithyrambic oriental keyboard; riff that sends the guitar for a musical fight where one could imagine a burning dance of the thousand and one nights; title that extends on the instrumental here, a bit long all the same, redundant and intense at the same time until the final gong comforting me in this particular atmosphere.

"The Voice of the New Day" with the recognizable and melting voice of SAGA's Michael SADLER of course; medieval sound; sweet and spleen guitar at the same time; air which calms down for a while before the return of his voice in redundant choruses and a finale on the organ, interlude introducing "Nobody" on a majestic organ, coming from limbo; ballad with acoustic guitar, soft 80's BOSTON melody; Beau sings well and shows it by giving warmth to this title where the Hammond accompanies the rise of the title; guitar solo posed, a little slide to reinforce the melancholy spleen aspect. "Fading Away" again on the 'Aqualung' for the riff, the air on QUEEN with the voice, the piano, the crazy grandiloquent air and my girlfriend who moves to tell me; I hope she won't charge me royalties; beatlesian air for me; solo guitar which tears, skinning then a very greasy keyboard to mix this all; good QUEEN is well marked on a memorable and moving title, some will say STYX, choose. "Uncrowned" continues the QUEEN influence with backing vocals, vocals and rhythmicity; title that flows with length here, maybe listening and understanding the lyrics can make it go faster. "Pilgrim's Reprise" for the finale, an epic instrumental in the intro with off-tones, warm; Beau shows his voice and delivers the final line to the storyline; final where the keyboards in the distance let the choirs fade gently.

EVERSHIP released their metal-progressive symphonic suite; twisted, complex and melancholic sound, sound that makes you cry with joy and introduces you to the American progressive landscape; sound that shows Shane doing well in crafting prog-rock opera from Harold WRIGHT's book, Allegory About Nature and Truth. Sound borrowing QUEEN, GENESIS, YES or KANSAS and STYX; symphonic album with heavy-progressive escapades from which pearl the feeling of emotion, devotion and plenitude; high-end melting-pot album which, while remaining excellent, repeats itself.