RAIN

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.

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 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.

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 is an English group previously playing in IQ and FROST* on the one hand and ARENA and JADIS on the other, renowned bassist and drummer forming a progressive synthesis of art-musical rock with fresh, frenzied, convoluted and energetic drawers. Rain used the global pandemic affecting the music industry to send us a few moments out of this schizoid world, a singularity of sorts, hang in there because it's just excellent.

"Devis Will Reign" on a pop tune Earth, Wind & Fire or Electric Light Orchestra, highlighting John's bass giving a dynamic rhythm then a riff and a Hispanic Andalusian solo of the very first, bringing joy; a bit of Yes in the background. "Dandelion" for an energetic synth-pop intro, we start with a rhythmic, dancing modern Wilsonian version, a little on Talk Talk, syncopated by the effective bass, yes we see that it is a bit of his group there; frenzied solo without break as on a 380 degree take with psychedelic floydian reminiscences. "Walk Away" on a Tears for Fears pop rock tune, variation of 6 melodic mini-drawers with Canterburian break then with Hackett's acoustic guitar, another hovering on the psychedelic piano, door open in the prog; moment when the title gives its substantive marrow; voices that remind me from afar of the harmonic choirs of "the dark side of the moon"; It starts again with 70's choppy synthetic percussion-bass rhythm and Mirron's percussive solo with notes reminding me of one of Ange's solos on "Cap'taine coeur de miel" dazzling, voice in gradient for the end! "The Magician" continues with a progressive drift, an acoustic guitar arpeggio, a killer, heady chorus and a crescendical rise; after a seemingly improvised break on a background of jam, the guitar solo arrives nervous; the synth grooves, murmurs in chorus to end... and continue endlessly, the title that makes you forget time. "Singularity" with the choirs continuing on a psychic, strange musical progression, worthy of an indescribable improvisation; the atmosphere is dark like on "Red", a little hovering, jazzy, the antithesis of the first titles, progressive yes; note the female voice of one of the members calling his cat in a denatured empty space, thumbing his nose at the initial confinement which will have bruised many music fans. Huge piece.

RAIN has released an intriguing and unconventional album, taking prog sound to another level. These four comrades shake up the prog base with a groove, a technicality and catchy tunes. Rob Groucutt (vocals, keyboards, guitar), Andy Edwards (drums), John Jowitt (vocals, bass) and Mirron (vocals, guitar) deposit at the end of the year a must in terms of subtle musicality, a high-flying musical caviar , an album that you simply have to own if you claim to be a prog fan.

It was wonderful to be speaking to Mr Bass last year, the one and only John Jowitt, and to be told that he was forming a new band with his ex-IQ and ex-Frost* bandmate Andy Edwards, bringing together once again a powering rhythm section. While they provide the platform, they are joined by Rob Groucott, (son of the late ELO bassist Kelly) on vocals and keyboards along with Mirron Webb (Hey Jester) on guitar and vocals. Any band that comprises people of the pedigree of John and Andy will always be tagged with the moniker "Supergroup", while one can only imagine the pressure on Rob to deliver, given that his father was such a high-profile presence in the music scene, playing on multiple million-selling albums.

Anyone who has followed John's career like I have will be aware he has played in multiple bands (often at the same time) in different genres, not all of which have been progressive. I first came across him when he was in the mighty Ark, a band who to this day I still feel have not had the recognition for all the great music they produced, while he of course came to major recognition when he joined IQ for their comeback album, 'Ever'. In Rain he has re-established the relationship with Andy that only bassists and drummers who have worked together for years really understand, and it is as if they have never been parted. Here they are providing a platform which is not as complex as the other bands they have worked in, but ensure there are touches here and there, and times when they simply smile at each other and go off on some runs, just to show they can.

The main focus is very much at the front of the band with Rob and Mirron often singing in dual lead harmony (even both hitting falsetto on "Walkaway"), and in many ways this album is all about the vocals. This is commercial crossover where the guitars can come in blasting neo prog at all and sundry, or be delicate and restrained, and the same goes for the keyboards which may provide a gentle curtain of sound for the others to layer against, often behind the bass, or they too can be a driving force. It is incredibly polished, and in some ways makes me think of American prog bands as opposed to British, yet with an edge which ensures the teeth do not hurt from too much sugar. That this was recorded during lockdown is nothing short of remarkable, as there is no disconnect whatsoever and it sounds as if the guys were in the studio honing and honing to the very end.

This is an incredibly impressive debut, moving and shifting, yet always inviting the listener in, with an easy style which makes it such a joy to listen to from beginning to end. If they keep going like this, then people will only be talking about John and Andy as being from Rain and given their history that will be some achievement indeed. One for progheads to seek out if they enjoy crossover.