RETURNED TO THE EARTH

The release of this British band's fifth album in nine years is some cause for celebration as their esteem in the prog community seems to only grow.

1. "Dark Morality" (7:19) the excellent PETER NICHOLLS-like singing of Robin Peachey is enveloped by the warm sounds of plodding drums, a spaced-out descending guitar-and-keyboard six-chord progression, and chugging single-note bass lines. Unfortunately, the song doesn't develop quite as dynamically or with quite the sophistication of the STEVEN WILSON sound they seem to be emulating. (13.25/15)

2. "The Final Time" (5:00) a beautiful IQ or THE PINEAPPLE THIEF-like song just sounds a little too much like all of the atmospheric IQ-like NeoProg bands that have appeared over the last 25 years. (8.875/10)

3. "Stalagmite Steeple" (9:58) gentle, atmospheric Satie-like arpeggiated piano chords cycled over and over open this song before a TIM BOWNESS-like vocal joins in singing a TIM BOWNESS-like lyric in a TIM BOWNESS or STEVEN WILSON-like style. The lyrics are almost embarrassingly recycled (from both Bowness and David Sylvian). At 2:25 heavy rock guitar chords jump in, amping up the volume--to which singer Robin Peachy rises in commensurate power and volume. A very pleasant if-familiar Dave Gilmour/BJØRN RIIS-like lead guitar solo ensues before the music backs down into a gentle, spacious, pensive motif somewhat like that of the opening (only the piano sound and order of the arpeggi has changed). Nice violin synth accompanies Robin's plaintive vocal in this section. The crystalline lead guitar returns at 6:48 with rich synth string support until 7:30 when drums, bass and guitar power notes ensue. Here Robin tries singing but is practically buried in the mix. Then we close out with some more beautiful yet emotional guitar soloing before the palette starts to break down, one instrument at a time. Actually quite well done--quite rich and engaging. I give it high marks despite its derivative constitution. (18/20)

4. "Meaningless to Worth" (6:09) too much like PETER NICHOLS and IQ. (8.6667/10)

5. "Die for Me" (9:09) though gentle, spacious, and fairly simple, the sound here is quite rich and the composition quite well-developed and successful in generating interest and intrigue--at least until the final motif--which is played out over three minutes from 6:04 to 8:24. (18/20)

6. "The Raging Sea" (5:36) what's with all the TOM PETTY-like sound palettes infiltrating Prog World this year? Add some NeoProg synths and slow plodding rhythmic pacing and you have another Tim Bowness/NO-MAN-like piece. A pretty song with nice sound but I don't really hear anything new here (unless you can hear and relate to the lyrics--a gift I apologetically lack). (8.875/10)

Total Time 43:11

Gorgeous NeoProg soundscapes with the awesome singing of Robin Peachey sound too much like IQ and Peter Nicholls or even Bruce Soord/The Pineapple Thief.

B+/4.5 stars; an excellent collection of beautiful, atmospheric NeoProg songs for lovers of anything Peter Nicholls, Bruce Soord, or Tim Bowness have touched.

Life would be somewhat boring if we all liked the same thing, as I way saying to a friend the other day if that were the case we could all be listening to Kanye West and watching Love Island. Happily many of refuse to go with the rest of the flock and instead find our own paths which are often much harder to follow but are always significantly more interesting. Here we have the latest album from Robin Peachey (vocals, guitar), Steve Peachey (keyboards), and Paul Johnston (drums) who are back with their fifth album, their second for GEP. When I reviewed 'The Watcher' I said there must have been some discussions on whether to include these guys on ProgArchives as while they had been influenced by the likes of The Pineapple Thief there were also elements of Pet Shop Boys and Nik Kershaw.

This album is far more emotional and atmospheric in nature, and I would now add no-man and Porcupine Tree to the mix, and I can certainly understand why some people have been giving this maximum marks, but not me. To me this album is far too one-dimensional without enough dynamics, and while that makes it perfect background music is not something I really want to listen to intently as to be honest it is just too boring. There is a market for this style of prog, but to me it is just too middle of the road without enough twists and turns to make it consistently interesting. I am not sure if I am scathing enough to call it "prog by numbers", but it is pretty close, and even having played it multiple times I still feel that way. As I said at the beginning, it would be awful if we all liked the same thing, so be aware that many think this album is a wonderful release in every way, but I am not one of them.

This is the 5th album from UK prog band Returned to the Earth. They also feature a moody, atmospheric style, but more low-key, melodic, and gentler than most other prog bands, but beautiful and quite evocative. They are musically reminiscent of Pink Floyd and the gentler side of Porcupine Tree, Pineapple Thief, and Airbag. The subject matter of the songs can be quite sad or heart-wrenching, but the music remains beautiful and moving, if a bit melancholy. Overall, this may be a bit too low-key musically, as in some places it could some more punch, as there are some songs that seem to have a slow build to something bigger, and I keep expecting it to break out and explode into a big finish, but it never does and just trails off. Certainly, need to be in the right mood for this album, but it delivers some quite beautiful and moving pieces. Best Tracks: Dark Morality, Stalagmite Steeple, Die For Me, The Raging Sea. Rating: 3.5 stars

I love it when I can connect with an album. When I was cycling through "Stalagmite Steeple" by UK band Returned to the Earth for review purposes I felt a bond being established. It was probably the third time through when I had to leave the house... and I didn't want to turn the music off!

Right up front I will mentioned that "Stalagmite Steeple" is very much akin with Steven Wilson's softer side, (like Hand. Cannot. Erase.). I would consider it art rock for sure, definitely progressive-adjacent. There is a high-standard of tastefulness in production, atmosphere and composition. It's an intriguing listen. Singer composer Robin Peachey's voice also reminds me of Wilson's (Peachey also performs on guitar, piano and synths).

If this album were a book, it would be a page-turner. Each track feels intimately connected and companioned- it is a spiritually cohesive whole. One concept tying it together lyrically is Robin Peachey's musings on empathy, escape, compassion and perhaps tragedy.

The album is largely slow without being plodding or diluted. Nor is it slow in the romantic or love-ballad sense. Melancholic? Maybe, but for me it's not depressing. Its only shortfall is that it deserved an exorbitant studio budget like in the days of yore when labels would spend a million dollars to record an album. On this project it would have not been wasted. So in that sense the canvas is slightly modest or sparse in parts, but since the material is so powerful it stands on its own quite confidently- a testament to all of the strong-boned melodies and composition.

The album is airy and spacious, carefully laid out and allowed to breathe, pulse, unfold deliberately and unhurriedly. That's such a different vibe than is so popular in the world right now; a world of maniacal TikToks, YouTube Shorts, busily shuffling Spotify playlists et al. Perhaps Stalagmite Steeple is a musical remedy or salve of sorts for this modern age- a balm for souls being run ragged- being pushed and pulled from all directions at once.

It's also beautiful. In fact the friend who recommended I check this album out used the word 'gorgeous', and he's right. The paradox here is that the album is also emotionally deep-cutting, drawing its listener into musical depths of profound contemplation.

There are no 'skip-pers' on this obviously carefully and lovingly crafted album. It's a consistently enjoyable listen throughout and there's even a nurturing quality or vibe I get from it. It has a timelessness to it as well.

I'm a new Returned to the Earth fan now, so I can't compare this to any of their previous 4 albums- I've not heard any of them! However I am so curious to explore them.

Fave track: Dark Morality.

The Prog dog score is 4 1/2 out of five dog bones. It's a gem.

I might as well tell you right away, I listened to this album a dozen times over the last four months before starting the review, rarely has a record given me so much difficulty in talking about it without bias, knowing that I am absolutely not a fan of THE PINEAPPLE THIEF and that the mastering of this "Fall of the Preacher" was done by Steve KITCH keyboardist of the pineapple thief. Here the scene is set, time to write...

This is RETURNED TO THE EARTH's fourth album since 2016, four opuses in six years, pretty average. Overall RETURNED TO THE EARTH is accessible progressive rock, not far from progressive pop without the pop side which takes precedence over the prog side, are you following? I read somewhere that Robin PEACHEY's voice had a coloring close to Neil TENNANT of PET SHOP BOYS and that's exactly it, PET SHOP BOYS who by the way composed some very progressive titles in their time.

The opening of hostilities takes place with the long eponymous piece "Fall of the Watcher", it is bucolic symphonic progressive (yes PSB like PET SHOP BOYS I swear I didn't do it on purpose) punctuated by a heartbreaking solo of six strings in its second part (9/10). The White Room which follows convinced me much less, a beautiful simplistic melody without more, nothing to get up from at night (7/10). "Drowning" sails in the same waters, pleasant without taking away the stars, a little repetitive in its middle part, much more symphonic and that's all the better in its final part thanks to the multiplicity of Steve PEACHEY's keyboards (8/10) .

The epic "Sacrificed in Vain" which exceeds ten minutes, is "The" pearl of the album not only for its duration, but also for its melody placed like a diamond in a translucent case on the shelf of your living room, Robin PEACHEY's vocals are of a beauty to cry, to listen and listen again until I'm thirsty (10/10), one of the songs of the decade, nothing less, reminded me of my distant youth and a track from THE FIXX "Stand or Fall" for the bass guitar loops and abundant percussion of Paul JOHNSTON. After this marvel we go back down a notch with "Lack of Information" which highlights Robin's guitar particularly, a little too similar to the third track for my taste (8/10) despite once again the quality of the main melody .

The party ends with "April Sky", the diaphanous beauty of a fine layer of dust in the sky, we are not far from ecstasy, calm and voluptuousness at the rendezvous, a radiant end for a work which will require numerous listenings to get the quintessence, well that's my modest opinion as a progressive consumer (9/10).

RETURNED TO THE EARTH, a good client for my top 10 of the year.

The previous album "Fall of the Watcher" released in 2022 made my heart flutter so deeply that an EKG was not necessary in determining the workings of my arteries. So, what? I fell in love again! That is what romantic progressive 'pop' music can do to the melancholic soul, if so inclined. Not only did I place that album very high on the 2022 altar, with a rather emotional review on my trio of sites, I also chased down the previous albums, especially the equally stunning "Erebus" from 2019. What seduced me thoroughly were the unimpeachable (excuse the pun) melodies that seemed to be created with divine inspiration, particularly when paired with a voice that scours the heavens. Robin Peachey has that rare talent in spades, as every word uttered is clear and poignant, tingling the senses way beyond the norm. One doesn't need a lyric sheet to follow his utterances. When notified that a new album was in the works, I felt both exhilarated at the prospect of another sonic jewel waiting to be discovered and yet somewhat worried that the bar was too high and perhaps unattainable. I needn't have bothered, as the new album is a gigantic winner. Both Robin and Paul Johnston have concocted a sophisticated shift in composing and arranging six dark tracks that 'progress' to an altogether denser and more distinctive level, perhaps even gloomier than before and reflective of the currently troubled state of humanity, individually and collectively. Just the song titles alone reflect this painful discourse, as both the music and the lyrics underline both tragic loss and wishful eternity.

Setting the sombre tone with the strenuous "Dark Morality", a ghost emerging from the soul's inner sanctum, waiting patiently as the mournful piano exposes the stark ethics, a rivulet of bass torch lighting the road ahead, Robin softly choosing his imperative words for maximum effect. His trusted electric guitar raises the bodily hairs with doomsday incandescence, the percussive pulse forges ahead as if leading a funeral procession. The outro ends in dissonant confusion and fatal surrender. Maintaining the devastating melancholia, "The Final Time" is just too much for anyone to bear, a cello driving home the stake of despondence, an ultimate meeting of closed eyes. Resonant piano and trembling voice reiterate the bluish haze, as a fluid guitar seeks desperately some kind of positive closure. A heart squeezing melody once again.

The epic, nearly 10-minute title track is the epicentre of this remarkable recording, starting off as a simple story purely sung, with a dire piano as the only partner. The jarring electric guitar is the tool with which the arrangement gets ratcheted up into a whirlwind chorus of atmosphere, passion, and melodic acquiescence. The bleak, almost minimalist mid-section beats like a pained heart, a bass pumping a mild sedative as the pain permeates every pore and sinew. Its haunting, perplexing and brazen in its restrained agony. The duo made sure to keep things from being overproduced with any coats of syrupy gloss, a superb piece that has not a single second of fluff.

Hey, it gets worse. Maintaining the eerie shadows and the sinister sonics on "Meaningless to Worth", the notion of trust is examined, at best a vanishing concept in today's world, where everything is questioned for ulterior motives and agendas. Cannot have the truth without trust, so that means two are down, I am afraid. The second section serves as a hopeful apotheosis, where shimmering keyboards, shivering guitars, and shifting drums, mean more than money and fame.

The sublime vocal on "Die For Me" steps through the void, and is only matched with a sensationally anguished melody for the ages, a pleading declaration of salvation of any ilk. The mood is raised to a turbulent level with a shuddering guitar rant. The kindly Steven Wilson would be green with envy, as this is a dramatic 9-minute masterwork of melancholia with an extra dose of sorrow. The solemn piano mid-section could be either Barbieri or Holzman, with sparse, minimal but beautiful piano, like a soft echo in a fertile valley, as Robin intones 'shouldn't be this way', paralleled all the way through by his querulous guitar. Beyond gorgeousness.

Looking out over the ocean where humanity's destiny lies, the ebb and flow of "Raging Sea" connects land and sea, sky and earth, an ideal of peace where we need to return to. The wavering voice matches the fluctuating words, buoyed by a floating bass line and a surging melody not far removed from Tim Bowness' style. Robin sings with his consuming guitar firmly aimed at the stars above, and letting it cry.

Returned to the Earth have proven persuasively that their musical path is now fully set, fine-tuning, and honing their precious craft towards a future farther from any overt pop sensibilities but also closing in on the apex, a proverbial peak where intelligent and meaningful art can and will prevail. Forever more. A must have release .....

5 caveman spires

Top album of 2022 so far, for me

Well, this is an interesting album, right when I was ready to write off 2022 as vastly inferior to the amazing offerings throughout 2021.

Brufordfreak nailed all the main points and comparisons/references that I would make and I don't want to read like a copy cat, so I will keep this brief.

This album is one of those special ones that demands your attention to really "get", but one that also sucks your attention back in, frequently, if your mind happens to wander. It is a really good "deep listen" album, with amazing atmospherics, a touch of melecholic pop, wonderful vocals that flirt with being too pretty, but never cross that line. The melodies are well-interwoven into a wonderful tapestry of sound. It's spacy and dreamy and....just right. "Sacrifice in Vain" is the track that makes takes this album to a 5 start rating. The PC/SW-like, harmonized vocals that explode into bliss at 7:30 are heavenly.

I'm hoping that this is a good sign that 2022 will start to deliver. If it doesn't, at least there is this brilliant gem.

I confess to not being as close to the UK progressive scene as I was some 30 years ago, which probably has something to do with there being far more people writing about progressive rock music these days, combined with me now living on the other side of the world. That is my excuse for having never heard of this prog trio until I was contacted by Thomas Szirmay asking if I had. A quick check of his review on PA and I was heading off to the band's site to make contact, the result being that I am now listening to their latest album. This 2022 release is their fourth, all with the same line-up of Robin Peachey (vocals, guitar), Steve Peachey (keyboards), and Paul Johnston (drums). I was not surprised to see that this was mastered by Steve Kitch of The Pineapple Thief, as that is a band which has obviously been a major influence, along with the likes of no-man or even Japan. However, there is no doubt that this band, while prog, have also been influenced by some classic British keyboard-based pop bands, with Pet Shop Boys an obvious stopping point. However, that may just be my mind playing tricks on me as Robin's vocals are very close indeed to Neil Tennant, although Peter Nicholls is in there as well, as is Nik Kershaw.

There is a great deal of space within the arrangements, and there are times when it feels like there is very little depth with everything on the surface with just Paul slightly behind the rest. The keyboards and guitar are where all the action is happening in terms of musical accompaniment, but there is not as much within the dynamics as I would have liked, as the contrast is not always there to set off the different components. There is also quite a large use of electronic percussion, although played by a human, which takes us back to the Eighties yet with modern production and styles. I can imagine there being some debates on this band being accepted onto PA by the team in question, as there are quite long sections where one can easily argue the pop influences have taken over from the prog, although for the most part the guys blend them together.

This album has already been given maximum marks on PA by two writers I highly admire, yet I cannot bring myself to go quite that far. I can understand why some people will think that, yet for me this is just too restrained, polished and with not enough breakouts so one can feel somewhat smothered within it. I would have preferred to have more dynamics such as we hear on "Sacrificed In Vain", where the guitars make their presence felt, but if you enjoy music from bands such as those mentioned, with a heavy dose of 80's keyboard pop brought in, all delivered in a considered manner then these guys could well be a major find.

Going backwards in the catalog for British band Returned to the Earth, and after heaping stardust, planets and galaxies on the latest 2022 album "Fall of the Watcher", I abide by my promise of investigating the previous 2019 disc "Erebus", to see if it is in the same league. Answer: a massive YES.

All those ingredients that made 'Fall' such a classic are already in evidence here as the trio of brothers Robin and Steve Peachey as well as drummer Paul Johnston had already contemplated the shift from Art-pop to a somewhat darker Prog-pop in a way with "Reach the Sky", a sublime tune on their preceding "The Best Kept Secret" from 2018. Once again, their exhilarating formula based on gigantic melodies, shimmering arrangements that deliver lavish orchestrations and impeccable vocals manages to deliver the goods in spades. The mood is deeply drenched in contemplative melancholia, shivering emotions, fresh and crisp delivery nevertheless and clever musical detailing that just keeps on giving as the tracks flow along, mostly in the 5 to7-minute range, save for the epic 9-minute finale that stamps this album with excellence. But the main immovable characteristic is the astonishing ability to carve truly superlative melodies and then adding the ornamentation elements needed to elevate the whole to the noblest heights of listening pleasure.

No hesitancy in suggesting a gentle immersion into their craft, "Broken Healer" shoves an articulate melody right between the ears, a forlorn piano setting the scene, electronic percussion effects adding a modern gloss, as Robin seduces the microphone once again, 'breaking down' the pained story that undulates in atmospherics. The second verse boosts the level even more, convincingly replicating the 'break down'. Immediate jubilation, mood masters, they are indeed. The flaming guitar serves only to accentuate the passion, as the poignant piano sets this patient to bed.

The dark melancholia of "Erebus" offers haunting and sweeping chords, luxuriant synthetic keyboards and a steady metronome beat, adding gleaming guitar phrasings that are full of echo and reverb, as the virtuoso vocal kicks in. Robin's delicate voice is definitely in fine company, a tone in the same league as legendary IQ vocalist Peter Nichols' (its actually uncanny). Shifting detailed spectral effects, swirling orchestrations (from Marion Fleetwood of folk group Tradarr) and the evocative voice of a singer who is convinced of his craft only adds to the overall quality of this superb track.

The adamant "Line of Sight" maintains the course, another convincing mid-tempo mood-laden song, with massive wall-of-sound guitar expressions and a soaring melody at the fore front. The quivering "Spirit World" sounds like a companion piece, offering the same glittering feel, but once again at the risk of repeating myself, another solid melody at the core. There is a strong similarity with some of Steve Wilson, Blackfield and Porcupine Tree's gentler material, such as My Ashes or Sentimental off the Fear of a Blank Planet album.

While the title "All Time Low" may indicate a fall into despondence, the track remains a delicate balance between upbeat rhythms and a few dips into melancholia, especially lyrically. The theme is immediately catchy and immersive, the sustained guitar motif underlining the main melody. Its clever and immediately attractive.

A subdued piano introduces "The Damage Done", a tragic plea of pain and suffering that is expertly sung, resonating deeply into one's soul, having that immediate pleasing attribute. The dense keyboard orchestrations combine again with the trembling guitar shadings to make this a most brilliant piece of music, as its tone is shiveringly obsessive. Powerful drumming only adds to the anguish. Tree-mendous track, I am sure Wilson would lose his basketball on a deserted atoll over this one.

The spectral "Nightfall" keeps the ship afloat and on course, all their tracks similar yet different but all structured on world-class melodies, offering a balance between attractive effortlessness and textured inspiration, jangly guitars, moody piano and solid thumping on the drums. Little details, like the pause in the singing between Night and Fall, these are the elements of seduction that appeal to me the most as a fan of this kind of romantic prog.

This a band that puts a lot of thought in structure as well, as their final tracks always seem to leave a strong afterglow, and such it goes with "542". "It is a song that started about terrorism and then also more generally about death that can occur at any moment while doing the most mundane things. That life doesn't always follow in the order you expect. The strings section from Erebus were repeated beautifully here, in isolation, making for a reflective conclusion to the album". Well, this song really takes the cake, as it's a crowning achievement on this album as well as their entire discography, a very proggy tune of sheer genius, armed with a hypnotic vocal line for the gods (especially if you are an atheist). I mean everything here is subtle, from the beeping synths, the deft drum caresses, the aching piano and the punchy electric guitar additions that gingerly evolve into a Gilmourian solo that just slays, dripping with unfathomable emotion. The final reprise of the string section explained earlier is sheer panacea, as the gentle waves collide on the rocks.

This is the kind of modern music that touches my inner sanctum, providing release, freedom, joy and enlightenment.

4.5 Terra trips

At the time of writing this review, this album tops the 2022 list. That sparked my interest, despite the label "Crossover Prog". The rating was so high, that I HAD to listen.

And I am glad I did. Because this is a solid album. A good, easy listening album. That said, the lyrics are not that top- notch. And for me, lyrics are an essential part of the experience.

The album has 6 different lengthy songs.

Fall of the Watcher - Slowly the music appears from the background noise. We hear keys and guitar. Two instruments of importance on the album. A slow drum brings the rhythm to the track. Then the singing starts. I have to say, the track is pretty. But rather slow and uneventful. Luckily, there's a change of pace and the song becomes more interesting when the solo starts. The guitar solo is certainly a highlight. Reminiscent of Gilmour (indeed). 7/10

White Room - Another atmospheric track with a nice chorus, sonically. The lyrics appeal to me less. It continues until it reaches a bridge at 2.40. Which is followed by a nice guitar solo. The song ends more or less as it started. A bit too bland for my taste. 6.5/10

Drowning - A bit faster paced than the previous two songs, this one makes use of similar instrumentation and soundscapes. Including the guitar. There's more room for the sonic landscape of the keys. This is the shortest track. It shouldn't have lastest any longer indeed 6.5/10

Sacrificed in Vain - The longest track. The Magnus Opus of this album? Hardly. Very corny lyrics again. Which is getting irritating at this point. At 3.40, the guitars take the center stage and the track picks up pace and steam. This is more interesting and fun indeed. Not that we haven't heard this a million times before (and better). But it remains enjoyable. Also, the song returns to a slower pace rather quickly. This is where the energy leaves the track, although it continues for some minutes more. 7/10

Lack of Information - Somehow, the start of this track appeals to me. But the chorus is very similar to others we heard on this very same album. Same for the guitar solo. There's the (inevitable?) bridge. But it is quite boring for my ears. A guitar solo brings us to the end of the track, closed by delicate piano. 6.5/10

April Sky - A song in a similar pace and with a similar soundscape as the whole album basically. But it is a track that brings true closure to the album. I give it that. Although it is quite boring as well. 7/10

This album is solid. But not awe-inspiring. And I do hope this will not be a contender for album of the year. Because that would mean 2022 is a poor prog year.

2 stars. Good listen, but non-essential and only for fans.