RADIO SILENCE

Understated Menacing Rebellion

"Illegitimis non Carborundum"

Beneath the savvy musicianship, the polished production, the progressive-pop sensibilities, the world-weary lyrics, there's a strong call to action to resist the machine, to take a stand, to hold one's ground, and "don't let the bastards grind you down".

That's what I hear on this sophomore release- "Radio Silence"- from British quartet RAIN- and it's an understated floor stomper to boot.

No Wasted Moves

The listener isn't immediately struck with mind-bending histrionic musicianship- although if one pays attention, the musicianship is mind-bending...just subtly so. Nor does RAIN labor to play harder/faster/heavier/more rapidly than the next New Thing in progressive rock.

Rather, we hear sinuous harmonies and insouciant, world-weary lyrics voiced by outstanding clean vocalists, chanting background voices, a strong melodic sense in the voices and instruments, tasteful keyboards providing some solo work as well as much atmospheric fullness, a more-than-rock solid rhythm section by two seasoned and well-matched players, and some frequently layered, inventive, guitar work, ranging from clean acoustic playing- like in the raging closer "Fear In the Night", to full on power chords chugging.

Working As a Unit

That is to say, on this album RAIN works as a unit to present this inspired album. It's hard to say who is the star, since the whole is greater than the sum of its parts- so I guess that answers the question.

Working as a unit, the nine tracks here- ranging from the brief opener "Genau" and its partner later in the album, "Winter Sun", to the full-on near-epics like "Solid State" (one of my favorite tracks) and "Bring it Back" we hear RAIN working as one, with novel textures, multiple vocal configurations, hushed- to intense and raging-toned progressive music on a mission.

And the Mission?

It seems to me RAIN is challenging the lonely, sometimes desperate individual to stand strong, to claim one's heritage, to exert the spirit and creativity that so often the machine seeks to crush. The mission is to show us that with their own sense of collective energy, we can see and hear and experience one of the ways individuals can stand as one and thrive.

My Conclusions

An excellent addition to any progressive rock music collection- a hardy, meticulously constructed and performed, thoughtful work set in crystalline production, immaculately done. 4 out of 5 understated gems.

RAIN group of Rob GROUCUTT and John JOWITT having played in ARK, JADIS, ARENA, BLIND EGO, IQ and FROST*! Musical art-rock with evolving, frenzied, convoluted and energetic drawers. His friend Andy drummer from FROST* helps him to release a strange, schizoid first album, yes you are already thinking like me of the Crimsonian master, who comes out of the usual drawers. I couldn't help but immerse myself in their second opus, let's go.

"Genaú" festive rock intro, symphonic with neo keyboard and thundering choirs, enough to heat up the atmosphere leading to "Hypnosis" with an AOR prog rock tune, a bit catch-all, alternative pop; the break refers to a jazzy-rock sound where the guitar reminds me of that of Crichton from SAGA, disorienting since it puts itself in a plaintive connection; return to the chorus before a last scratchy solo. "Something New" jazzy, an XTC sound, avant-garde for the phrasing à la Joe JACKSON, bass forward, reggae air in the distance, yes it goes? everywhere; dancing parenthesis, soul-jazzy then dynamic rock-pop to apostrophize. "Radio Silence" bewitching eponymous title, Porcupine sound with a long crescendo of barely 5 minutes, a pre-post rock guitar solo that rises, rises, full of intensity; a soft finale with these voices that come back like waves along the cliffs, amazed.

"Solid State" continues for one of 3 tracks over 8 minutes; fresh air, sliced, jerky rhythm and I feel the creativity of XTC again; from the 2 minutes the musical prog blood rises and leaves on an eventful melodic improvisation where Andy shows the extent of his talent; Genesis guitar arpeggio, nervous riff and varied voices for a hypnotic, disconcerting and enjoyable finale.

"Bring it Back" haunting pop tune, I think for a while of 'C'est la Ouate', in short don't worry the musicians throw themselves into a jig where everyone puts themselves forward; it's fresh, fruity rock-pop; the guitar solo wants to be burning, disconcerting, hysterical with percussion, the guitar flirting with a trumpet, a xylophone, musical magic. "Never Ending Circle" with an obvious funky groove, not far from an EARTH, WIND & FIRE, don't worry it's danceable rock and fusion is emerging; the spleen break engages in a melodic air where the lament emerges in an admirable way before a finale with an intensive rhythm reminiscent of the second period of KING CRIMSON. "Winter Sun" crystalline, icy piano interlude; reverie to wash his ears after so many new ideas discussed. "Fear in the Night" plaintive air, still KING CRIMSON for the voice, the atmosphere; a big guitar riff strikes the idea of ​​the melancholy melody, then an Andalusian guitar arpeggio to throw the musical confusion; this repetitive guitar allows you to establish a plaintive song and gives the certain progressive evolution, the one that flows naturally, the one that makes your neck shiver; drift that confuses you, makes you wonder how they managed to make you forget all your precepts, hats off and the fluid, fast final solo risks finishing you off.

RAIN changes its musical register by offering an incredible album in terms of sound and composition; a progressive album in his body with rushes of musical adrenaline, surfing between pop, jazz and funk; dancing, rhythmic especially in the second 'side'. After having played in the folk group QUILL, it is indeed in luminous art- rock that they invest. We are on alternative prog fusion rock supposed to show post-pandemic creation where musicians could finally meet to create. An album that helps to go to marvelous imaginary places, the very essence of Prog, where exploration is linked to each ear but keeps the common thread of certain Dino masters who rocked us before. An album that would have been perfect if the beginning had been less burst musically speaking.

Don't let the "crossover" tag put you off; this is no bog-standard pop-prog. At times it puts me in mind of the careful eclecticism of Echolyn or fellow relative newcomers Pattern-Seeking Animals; pulling in influences from a variety of sources both in and outside the world of prog, then sculpting them into cohesive, unpredictable songs.

The rhythm section of Edwards and Jowitt brings a proper old school groove to proceedings (approaching Gentle Giant-esque levels of mutant funk at times), whilst Groucutt and Webb's guitars and vocals feel comparatively contemporary, making for a pleasing blend of old and new vibes.

This is not a get-it-on-first-listen album, but if you put the time in you'll really start to appreciate the nuances and quirks of the songwriting on display here. This feels like an album that's been built to last.

Track Highlights: Solid State, Never Ending Circle

Rain are back with their second album, one which I and many other progheads have been eagerly awaiting given the depth of their 2020 debut, 'Singularity'. Formed by ex-IQ and ex-Frost* bandmates John Jowitt (bass) and Andy Edwards (drums), they were joined by Rob Groucott, (son of ELO bassist Kelly) on vocals and keyboards along with Mirron Webb (Hey Jester) on guitar and vocals. Although the debut was recorded under lockdown conditions, 'Radio Silence' was written through collaboration, with many of the backing tracks recorded live at Mark Westwood's state of the art studio in Worcestershire. One can certainly hear the way John and Andy have locked in together in a way which only happens through many hours of sharing both stage and studio, and it is this platform which allows Rob and Mirron to really shine.

There is a liveliness and real life about this recording which is fresh and exciting, with a vibrancy from a band who sit happily within the crossover style of progressive rock but while they are bringing in commercial elements into their overall sound they are also expanding their stylings and bring in jazz and funk as well. There is a depth within the music, threads which are layered and moving, yet there is also a lightness which makes it immediate, yet it is only with repeated plays that the full complexity comes through. The vocals and their harmonies are an essential part of this, and while Rob often keeps his keyboards in the background it does allow Mirron to provide some wonderful guitar breaks.

It is a highly polished album, and I am more than a little surprised to not see more about Rain on the scene as this is yet another superb release and I hope we do not have to wait quite so long for the next one.