COMING UP TO CONSCIOUSNESS

OK, I just don't flip out over new music much anymore. I like it, perhaps love some of it, support it, but overall - after growing up in the true golden era of Rock Music / Progressive Rock, it's difficult to get super excited about something new.

BUT - I am flipping out over this Coming Up To Consciousness by Pure Reason Revolution.

This is superb art. A homogeneous, natural blend of slight new wave (think a smoother XTC) / newer prog (Pineapple Thief) and yet nice and heavy at times (Dredge), all in one beautifully recorded and produced release. And, all still very original. For me the highlight is "Lifeless Creature" - as it's very powerful, ethereal and poignant.

On top of all of this gushing of mine is: It's in a wonderfully mature surround mix, and up to all of the better surround mix releases.

Thank you Pure Reason Revolution for getting a veteran of the scene, excited once again with this wonderfully crafted project. Bravo, indeed!

The artistic world is a many splendored thing, where any particular talent has the latitude and ability to progress, regress, digress, repress and even aggress in which ever matter it sees fit, as the corporate kings have lost their imperial powers over recording, marketing and distribution. When Pure Reason Revolution unleashed their debut album in 2006, it caused a fair amount of trepidation due to the universal praise "The Dark Third" received from both fans and media alike, a progressive act that had a rather unique recipe in combining male and female vocals in harmonious interweave that was the hallmark feature of their muse. Oddly, the band took an oblique path into more synthetic electronic realms, which freaked out their audience completely, and the band suffered through both Amor Omnia Vincit (2009) and its even more metallic follow up Hammer and Anvil (2010). This was followed by 10 years of silent despair in trying to refocus their craft, with leader Jon Courtney and Chloe Alper retooling their sound with two solid return-to-form albums as both Eupnea (2020) and 2022's "Above Cirrus". With this latter album, a major talent appeared in the form of multi-instrumentalist Greg Jong who brought in a fresh new approach that is immediately apparent on this brand new 2024 effort, though Chloe Alper has left in the meantime, replaced by Annicke Shireen, a sensible move if the band wished to consolidate their claim to fame in the dual vocal department. Adding Ravi Kesavaram on drums, Lewin Krumpschmid on piano, the legendary bass maestro Guy Pratt and two gents from Pineapple Thief, namely John Sykes on bass and guitarist Bruce Soord. Fourteen tracks including six intermittent interludes are found on the download, but are incorporated in the physical albums, this is an interesting concept. The album is not only a fine return to form, but it also rekindles the glowing reaction that stole the headlines back in 06, a set-list that oozes class, delivering sublime melodies, wrapped in stellar instrumental work, and of course, some of the finest vocals you are likely to hear in 2024!

From the opening moments of "Dig till You Die", the Rubicon is crossed with suave melodies, dreamy keyboards, a rhythmic undertow that elevates the vocal interplay between Jon and Annike, slashed by a brief raunchy guitar barrage before diving back into tranquility and an obvious elevation of tension that really sets the mood for loving this album. The main theme on "Betrayal" is immediately addictive, especially in the way Jon uses his higher pitch to blend majestically with Annike's counterpoint, slowly lowering or raising the pressure with effortless zeal, a looping bass highlighting the duplicity as the arrangement soars elegantly into the heavens. This is simply sublime, by any musical standard one wishes to apply. The pleasure continues on the primarily breezy "The Gallows", a shimmering piano-led vocal tour de force that arrives at a seemingly psychedelic soundscape with sunny slide guitars painting the sparse clouds, the instrumental outro all about rhythmic groove and restraint. The mood gets a bit exalted on "Useless Animal", the massed harmony voices blending delightfully, as the pace picks up in energy, transitions galore from soft to harder edged raging buzz sawing guitars that are being challenging by churning organ salvos, and a stop on a dime ending.

The second part of this album only gets even better, as if that was even possible, as "Worship" raises the level even more with a brilliant guitar swoop, amid the master-class vocal performances, that endlessly astound. One can easily detect the Porcupine Tree/Pineapple Thief influences, as the scorching phosphorescent guitar sears with utter disdain for the consequences, the tectonic drumming bullying forward unfazed, until the arrangement flutters away in vocal hallucinations. The next two tracks are similarly sized in the 6 minute + mark, thus offering a core dozen minutes of impressive continuation, the 'ooh-ing' voices slaying any attempt at pushback, the crucifying 'Sacred Lovers' chorus being just gorgeous on the superb "Bend the Earth". The guitar solo is egged on by the rhythm locomotive, a fantastic tone to boot as it carves across a colossal keyboard backdrop, adding all the symphonic glitter one could hope for. The electronic e-piano/synth outro is off the charts. This segues perfectly with another killer number, the celestial "Lifeless Creature", a more ponderous infusion of vocal-fuelled psychedelia, both voices flirting with the sublime, Annike leading here with Jon right behind, a masterclass from the microphone crew. The final half has a sense of doom attached to the cyclic beat, veering towards a twisted repetition of the title until the final breath has announced mortality. The final cut (no not that one!), "As We Disappear" securely waves a fond farewell to all the preceding melodies as the horizon seeks to swallow up all our memories, in search of the perennial new beginning. As such, all those precious elements that make up PRR are plainly maintained, surely a bright and prosperous future for this stodgily determined band, as it continues to forge ahead in its craft. Extremely enjoyable album!

5 Raising perceptions

Jon Courtney returns sans founding member Chlo' Alper, here replaced by the more-available and very talented Annicke Shireen. Jon also enlists the support of his producer, Bruce Soord, for guitar and effects as well as Bruce's The Pineapple Thief band-mate, Jon Sykes, and legendary journeyman Guy Pratt to cover some of the bass parts.

1. "Prelude: Coming Up to Consciousness" (0:32) 2. "Dig Till You Die" (4:36) though there is a lot that sounds too borrowed from the band's debut album (specifically the pattern and sound palette of the rhythm foundation), there is enough wonderful stuff here to make this a wonderful listening experience. Vocal is too compressed. The bass, too. I love the intro. (8.875/10)

3. "Interlude 1" (0:23) 4. "Betrayal" (4:05) some nice elements that don't quite gel. (8.75/10)

5. "The Gallows" (4:36) great bass playing, great sound palette, and nice melodies--especially in the ear-candy-themed second half. A mature, well-developed, complete-feeling song. A top three song. (9.25/10)

6. "Interlude 2" (0:21) 7. "Useless Animal" (3:56) great lush vocal arrangements to some rather lackluster lyrics. A pretty solid, complete- feeling song. (8.875/10)

8. "Interlude 3" (0:12) 9. "Worship" (5:02) opens fronted some simple guitar chords being arpeggiated while Jon sings. Annicke gets some appearance time before the full band kicks in at 1:13. The band's old pedal steel guitar's presence is nice. Again, the main fault with this song is in its leaning back on old patterns, sounds, riffs, and themes. (8.75/10)

10. "Interlude 4" (0:17) 11. "Bend the Earth" (6:19) a song that feels like the most original content on the album: palette (that unusual bass sound and programmed drum sequence), chords, structure, flow, rhythm patterns--everything except the chorus motif feels new and refreshing. (9/10)

12. "Lifeless Creature" (6:10) tension filled piano arpeggios open this one before Jon enters positing an-almost whispered vocal. Then synth bass, syncopated drum machine pattern, and other tension- and atmosphere-building effects enter, creating a very interesting and highly original motif to which Jon and Annicke add much magical vocal work. After the singing is done around the 3:50 mark the tension just builds and builds. This is awesome! Love the deep bass thrums. At 5:00 the tension bursts and we come back to Jon's guitar-supported vocal--which is then joined by the full ensemble to the song's finish. The most interesting and, perhaps, the best song on the album. A top three, to be sure. (9/10)

13. "Interlude 5" (0:38) like a hundred distorted accordions recorded and somehow warped in the taping process. (My favorite interlude.) 14. "As We Disappear" (4:49) another delightfully unique and unusual song with treated piano, bass, gently arpeggiated electric guitar, atmospheric synths, Jon's voice with Annicke's wonderful harmony support. Drums kick in around the two-minute mark. That distinctive piano, however, is the main attention-getter for me. My final top three song. (9.125/10)

Total Time 41:56

Note: Only the digital versions of the album have short interludes included as separate tracks. The physical issues don't list interludes as separate tracks, but instead incorporate them into the tracks occurring either before or after them.

While I loved Chlo' Alper on The Dark Third, I never thought she was given enough of the spotlight after PRR's first album. The role and prominence given to Jon's new female counterpart, Annicke Shireen, is wonderful--and quite welcome--as Chlo''s strong presence on The Dark Third is one of the reasons I fell in love with the band, music, album. The vocal arrangements, however, too often fall into the realm of "syrupy" and/or "overdone." The bass contributions are also quite welcome; nice, smooth and confident bass makes such a difference. I only wish I could find out who is performing them: which performances come from legendary journeyman Gary Pratt and which from Bruce Soord's sidekick.

B+/4.5 stars; a near-masterpiece of crossover prog; an album that I really enjoy and so want to promote as a five-star masterpiece but it just falls short: so many very enjoyable songs just fall short. Highly recommended: decide for yourselves!

Short Interludes as passages, intros or outros, a cottony, ambient Prelude launching 'Dig Till You Die' with Floydian psychedelic post-rock sounds; the vocal duo Jon and Annicke hit the mark; Chloe is gone and leaves a magnificent vocalist. The soft melody drifts on compulsive alternative prog, synth prog with a staggering riff, an invasive beauty. Modern sound of today and tomorrow, looking at the prog works of Wilson, of the late Anathema. The text on the end of his dog's life, his guilt, the prog borders on perfection. 'Interlude 1' followed by 'Betrayal' with the electro piano pop ballad, Jon accompanied by Annicke for the dynamite chorus and the dark break; the organ of time, the guitar that talk to each other, the melody becomes unstoppable, captivating, letting time contract. 'The Gallows' on a melancholic climate combining Anathema, the Smashing Pumpkins and Åkerfeldt; the oxymoronic sound bathed in morbid gaiety with its catchy darkness. Harmonica of the Supertramp, time stops, the piano remaining in the race, launching the vocal solo with the slide guitar. Ethereal break between bossa nova and jazz bringing contemplation with the compulsive electric piano. 'Interlude 2' and 'Useless Animal' poignant for the dark instrumental side and the voice in complaint speaking of loss; crystalline piano à la Joe Jackson, drums, choirs, everything gets going to affirm the important place of the animal. Slide and piano in minimalist break before the heavy, metallic debauchery, which makes the PRR avant-garde. The riff makes you want to go see them live; you nod, the rhythm accelerates, creates a trance, an organ comes to finish you off in perfect humanity, that of Lewin from Soulsplitter.

'Interlude 3' and 'Worship' side again, creamy vocals; the intensity will grow on an electric crescendo, a tribal groove and the devastating organ. Jon screams, the words spurt out, the progressive atmosphere at its peak, between explosive prog and proggy punk creating a metallic tension worthy of the Smashing Pumpkins in the style of Depeche; fabulous. 'Interlude 4' and 'Bend the Earth' on Ravi's electronic pad to return to a calm pop ballad, a paradigm between softness and explosive containment; latency with Guy's expressive bass that makes you want to dance. The prog changes with this magnificent guitar solo not to be missed before the syncopated electro finale promoting trance. Then comes 'Lifeless Creature' with a linear ambient rhythm; moment of doubt, introspection, anguish; moment of bliss with Annicke hynotic and languorous, progressive. Dantesque finale with a pad-synth sticking to the ears; distressing with Jon on a dramatic coda. 'Interlude 5' longer, leaning towards Japan, brings 'As We Disappear' to the explicit title; alkaline piano à la Muse, whispered, barked vocals. The string finale to meditate and overcome these melancholic moments when doubt overwhelms us; the slide guitar helps us by crying to work on expiation. Title of Jill Tegan Doherty's album as proof of Love for her dog.

Pure Reason Revolution is an innovative, devastating fusion; modern progressive rock, emotion following the death of Jon's dog. An innovative sound with the vocal duo, the proggy sound, energetic and rhythmic. Dreamy prog synth, catalyst, on Talk Talk pop and the soaring Floyds. Heavy, soft and tonic melodies. A musical magma lighter than its two predecessors embellished with interludes making it enter the concept album. originally on Progcensor.(4.5)

After many years of attempting to "get" PRR, this is the release that finally cracks the code for me. This album hits many sweet spots like catchy melodies, fine instrumentation, gorgeous female vocals that elevate the lead singer's lines and stellar production values, overall. The influences of Porcupine Tree and Pineapple Thief are present here, without being overwhelming or duplicative. The Alt Rock flavor is strong here, but there are plenty of progressive flourishes spread throughout. I am drawn to lyrics and understanding what, if anything, is being conveyed, so this collection has something to say and says it with emotion and impact. I was thrilled to find out that a DTI 5.1 mix of this wonderful music is available, so of course I snapped it up! The only caveat is that each song leaves me wanting more, so maybe my "epic" thirst wasn't satisfied! Easily one of the best releases of 2024 for me!

This the 6th album from this British Crossover Prog band, and 3rd since they re-formed in 2018. Very strong album and a solid step forward from their previous album, Above Cirrus (2022), which was not quite as strong as its predecessor, Eupnea (2020). Wonderful mellow vocals and beautiful melodies leading to darker, heavier rock elements and crossover prog appeal. The album consists of 8 main songs separated by very brief (15-30 sec) instrumental interludes, consisting of moody synth chords. The main songs are good atmospheric melodic prog with strong melodies and vocals. Best Tracks: Betrayal, Useless Animal, The Gallows, As We Disappear, Bend the Earth. Rating: 3.5ó