AN ORDINARY LIFE

The Scottish band Long Earth has something with shadows. For instance, their third album, "An Ordinary Life," features the nearly eleven-minute epic Shadows, and the promotional material for the new CD includes a band photo with huge silhouettes. You could infer from this that the band has a significant history, and that's correct. Long Earth has been in the making for forty years. The group creates music deeply rooted in the (neo-) progressive rock of the 80s and 90s. Their sound clearly aligns with bands like Comedy Of Errors, Abel Ganz, Egdon Heath, and Final Conflict, for example. Well, when you talk about shadows?

Long Earth meticulously crafts their songs. We are treated to extensive texts and intricately detailed compositions, and that's necessary. "An Ordinary Life" is, after all, a concept album about life itself, from birth to death. It also addresses topics like war and politics. So, plenty of words are needed. It helps enormously that singer Martin Haggarty has a pleasant voice that doesn't quickly bore. He has a slightly theatrical edge, reminiscent of Jens van der Stempel on the Egdon Heath CD "The Killing Silence." What really enhances his vocal performance is that he often surrounds himself with his own background vocals. Haggarty joined the band last in 2018, and the other band members must have been thrilled about that. Listening to the band's sound, you hear a lot of homogeneity. Especially guitarist Renaldo McKim and keyboardist Mike Baxter play as Haggarty sings, controlled and tasteful.

Long Earth presents eight songs on their new album, ranging in duration from 5:26 to 10:56. The energetic Fight The Hand That Bleeds You opens the work in a way that leaves you wanting more. The vocal part is catchy with a nod to the 80s new wave, combined with the control of a prog song. What truly makes the song immortal are the alternating passages. The keyboards excel with a delightful theme that really should never stop. An excellent change of atmosphere occurs when the song shifts to something somber, where a piercing guitar theme and calm vocal blocks alternate. My favorite moment is the chord progression leading back to the chorus. Compositional mastery.

It's quite surprising that the next two songs are ballads. Morpheus is an intoxicating song based on a gently flowing guitar arpeggio. An evocative text about your dream world and future does the rest. The piano-starting Life is one of the three pillars of the album's concept. Life is a beautifully constructed song with a dignified atmosphere best described as Spandau Ballet goes prog. The synth-pop of that era is also fully present here.

At that point, Long Earth decides to add some energy to the album. Sand is the most rhythmic song of "An Ordinary Life," with a nice bass riff and a fiery guitar solo halfway through. The track provides a pleasant change, especially since Shadows is also back in calm waters. The song has a lovely build-up with sliding bass tones and acoustic guitar, culminating in a majestic prog finale.

Long Earth then comes with The Arc, the second part of the Life cycle. While the first part is about youth, The Arc can be seen as an ode to adulthood. The band delivers a sparkling mid-tempo song that enhances the album. Moscow is another standout track. The lyrics are impressive, as is the eight minutes of music of the song. The album closes with Empty Shore, the third part of the cycle. The subject here is, of course, old age. This is wrapped in a fairly average song, which is remarkable.

With "An Ordinary Life," Long Earth has delivered an excellent album. It's a true grower, which always results in a pleasant experience.

Originally posted on www.progenrock.com