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Evership - The Uncrowned King - Act 1 CD (album) cover

THE UNCROWNED KING - ACT 1

Evership

 

Neo-Prog

3.89 | 58 ratings

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alainPP
5 stars EVERSHIP is the group founded in 2013 in the USA, led by Shane ATKINSON composer and multi- instrumentalist who performed on CURIOUS FOOLS. He tries his hand at producing albums to continue to bring to life the exceptional sounds of the 70's in our time by restructuring them, giving them more intensity. This opus is an adaptation of the book by BELL WRIGHT based on the allegory concerning the truth, which one will not touch of fact. He is releasing his 3rd album here after an '' II '' in 2018 referred to as a very good symphonic neo-prog eyeing QUEEN, YES, ROYAL HUNT and RUSH, which is to say that I started with relish.

"The Pilgrimage" futuristic VANGELIS synth intro inviting to travel; the air will seek in the memories of YES, then of STYX with divine symphonic passages; 3 movements for this powerful track; a bit of RUSH, a bit of ROYAL HUNT also by the central metal drums, an explosive rise that sends me back to BOSTON, then the bass of SQUIRE, YES for the voice and the synths, all associated with a melancholic final tune piloted by majestic keyboards; title that passes too quickly, a good indication, flagship title. "The Voice of the Waves" for a bucolic atmosphere and its birdsong responding to bells turning dark, anxiety accentuated by Beau's voice in phrasing on a bed of Mellotron, anguish contemplative interlude starting on "(a) Crownshine / (b) Allthetime »starting hard rhythm, riff that goes with it; a Moog, a crystal clear piano, backing vocals, it becomes melodic then the synths set the mood pulling towards the fabulous BOSTON; alternation, entanglement with the guitar solo, it becomes baroque, not grandiloquent, not symphonic, in short, good retro prog certainly but not boring; divine choirs then return to the voice reminding me of STYX, melody with the instruments of the time when we listened religiously; aerial guitar solo which rips, hard riff à la KANSAS then Mellotron, you will understand it is divine. "The Tower" where the alliance between YES and MAGELLAN all sprinkled with STYX; a little of the madness of the first QUEEN and you have an indication of this timeless jewel; piano, voice, rhythmic Mellotron and melodic guitar to mix it all up; synth solo then a few melodic drawers with the voice and the guitar which does not hesitate to start higher, it accelerates, it goes back down, it starts again on the starting tune and it melts on a soothing soft synth for the final, always magnificent.

"The Voice of the Evening Wind" for the attack of the second part, a dark, mysterious tune, eerie bass in the early THE CURE; the synth goes up in the air and Poem's Yessian voice, ah family, sends far higher than the acoustic notes of the guitar; it's relaxing, meditative, ambient, entertaining and progressive interlude, it pummels you and doesn't let go; the repetitive Mellotron helps with this sensation, final with its helicopter bringing "(a) Yettocome / (b) Itmightbe" intro as one imagines it powerful and colorful, choirs, acoustic moment at the STYX in divine ballad, royal piano, the symphonic is the order of the day, the voice that reminds me of MERCURY, tears arise, the drums-chorus rise finishes me off, the MAY solo too, shit (in Latin it's not an insult) I almost missed that? No, I'm here to tell you about it! An intimate acoustic break for a while then it sets off again in an overdone angelic melody, the time to let the various keyboards, vintage or not, give back a more elaborate feeling in a crescendo giving way to the guitar solo, there memory of RUSH; pause again and final all uphill with this voice, yes the voice has a lot to do with it, and the heavy guitar solo which stretches beautifully, magical! "Wait" for the final title, basic piano, bucolic ballad peering for the chorus on THE BEATLES, distant voice, title for the rest of the ears and the soul; syrupy title which is more like a "radio- edit" of the days when music was played on the radio, but which does not represent the musical technicality developed in the other titles.

EVERSHIP signed a master stroke with this avant-garde retro-regressive album; mixture of old sounds reshaped to a current and agreed power, bringing in melody, varied neo prog surfing on the dinos of KANSAS, STYX, QUEEN, ROYAL HUNT, ELP, YES see CAMEL. Album recorded on a HARRISON 70's analog console helping in this; magical album which makes regress but which shows that the beautiful synthesized progressive of the old ones is still possible. EVERSHIP, which I only know from its old CD, leaves me skeptical about the sound, instrumental and vocal quality deployed.

alainPP | 5/5 |

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