DOMINION

In 2020, a new band appeared on the scene with the rather odd name of Zopp, the delectable project of Ryan W. Stevenson, a talented British multi-instrumentalist from Nottingham whose fascination was squarely centred on the legendary Canterbury sound of yore made famous by names like Hatfield & the North, National Health and all its offshoots and all resident musicians who admire the style. The debut album was met with universal applause and lofty praise for being inventive in a somewhat restrictive genre, a fresh new chapter in its fabled history. Was it going to be a 'one and done' flash in the pan? The answer is happily, NO. I wanted to review this desperately but lingered patiently to see if there was going to be a sequel. Dominion has just now been released and it is a beautiful sophomore work that will undoubtedly be the talk of early 2023. In fact, the Zopp buzz has already hit the internet waves with glowing tributes from all around the globe.

Ryan has fielded his usual arsenal of vintage keyboards, from Hammond organ, Mellotron, Hohner Pianet , Korgs and assorted other synths , to electric and acoustic guitars, bass, flute and vocals. Once again, with Andrea Moneta (Leviathan) on the drum kit. The opening short intro "Amor Fati" wastes little time showing its credentials with guest Sally Minear's voice expertly meandering through the rivulets of twinkling e-piano, mellotron swaths, guitar shavings, bass rumble and drum sustenance. The banquet table is justly set , ready for the adventure to begin with the slickly titled 'You' (though not sounding at all like the celebrated Gong album), though Andrea Moneta really blasts his way across the rich sonic tapestry woven expertly by Stevenson. The nearly 11 minutes is just pure, unadulterated psychedelic bliss of the highest quality, displaying quirky, yet melodic tendencies, complex twists and turns where needed, and an overall feeling of accomplishment and exploration. Smooth vocals only add to the enjoyment. But when that murky organ rifles through the mist, things really get moist and sweaty. A series of four shorter pieces are sandwiched between the 4 epic pieces , starting with "Bushnell Keeler", a different kettle of fish that prefers seducing with bobbing simplicity, sounding like a playful Hillage track that decided to add some welcome saxophone parts (à la Didier Malherbe) , corpulent bass figurines and a more direct approach on the percussive side of things. As is so typical with the Canterbury sound, one needs to contrast with some bucolic countryside flavourings, just to relax a bit before moving back onto the road. The shimmering softness of "Uppmaarksamhet" (Swedish for 'attention') is nothing more than a pool of reflective beauty, and owner of a gorgeous melody that soothes the soul. As promised and wholly expected, "Reality Tunnels" clearly veers back onto the motorway with a revving engine pulsating from the hyperactive rhythm section, the burping bass a delightful fender for the chugging drumkit as Ryan clutches his ivories, pushing all the buttons at his command. A brief slowdown to take the curb without slamming into a ditch only adds to the pleasure before kicking back into gear. "Wetiko Approaching" is a mind virus named such by Native Americans that suggests a brief glimpse at imminent psychosis, mostly vocal and naturally weird. Perfect intro to the epic finale "Toxicity", a 14 minute+ arrival into the noxious town after such a delightful rural ride and the sound is profoundly urban decay, the vocals somewhat deadpanned, despondent, tired, nearly wasted. The screeching organ fuzzes through the moral pollution, a brief respite with a gentle flute section and back into the fury with shrieking trumpet and delirious sax adding to the noise. Just like driving through any harried metropolis, there is a sense of constant fracas, order followed by disorder, beauty and ugliness, happiness and despair. Conveying this musically is what makes prog such a gratifying journey, and having an astute audience that recognizes creative talent when displayed with such audacious brilliance. A modern take and a tried and tested musical style is a something to behold and cherish. Talk of the town and village!

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