THE ORPHAN EPOCH

Cosmograf is a very consistent project, but I noticed recently that I tend to love an album, then just enjoy the next, then love the following one, and so on. So, starting with the first one I heard, The Man Left in Space, I loved it, then only partially connected with Capacitor, then adored The Unreasonable Silence, and on and on. That trend has stopped, however. I absolutely loved 2022's Heroic Materials, and now Robin is launching The Orphan Epoch on May 23rd, and it is close to tying with Mind Over Depth as my favorite from him.

Robin Armstrong of the UK is the brains behind the project. When I say "brains", I really do mean that since Cosmograf is lyrically heady and precisely composed in a way that only a perfectionist could produce. He brings with him fantastic drummer Kyle Fenton, and Peter Jones guests on saxophone on one track.

This album represents some changes in Cosmograf. I mean, the sound is basically the same: progressive rock with some edge. But I sense something different, not so much an evolution as a full realization of the project's style. Robin doesn't seem shy about flexing his guitarist muscles anymore, and the keys, too, are gorgeous and played with aplomb. With the excellent rhythm section, towering saxophone spot, and continued strong lyrics, this album feels more completely Cosmograf.

The album addresses the divide that society wants to place between groups of people. This choice is most often binary, never nuanced or accounting for other ideas. They want to herd us into one of two labels, which I suppose would make it easier to control. The Orphan Epoch sets this as a foundation but then discusses young people and the disconnection and disinformation that is fed to them as they grow to become the next generation. What future awaits? Can the world handle such toxicity and lies?

The album has seven songs and they are all terrific. The singles "Kings and Lords" and "You Didn't See the Thief" are both outstanding; I love how hard the former rocks, and how the backing vocals add a sense of sobriety and history. Robin's guitar solo near the end is pure fire. The latter is even better, though, with its reserved character, electronic tone, and robust instrumental. What a great song!

But, you know, those aren't even my favorites. I love the opener "Division Warning", a pumping and powerful track with celestial keys and a sense of urgency. "We Are the Young" follows with more of an acoustic sound, but that marches into a whirling organ atmosphere of choices and confusion and melody.

My favorite track on the album is "Seraphim Reels", feeling a bit like a 2000s Porcupine Tree song with an injection of saxophone. I absolutely adore how Peter is featured throughout; Robin's voice is perhaps the most vulnerable and expressive that it's ever been. It's honestly a quieter track for the most part, but Peter lays down a thrilling, gritty sax solo that blows me away every time. I love how Robin's guitar takes its lead, ending the track in a deeply satisfying way.

The last two tracks on the album are both winners, too. "Empty Box" is a softer song that mostly floats in dark spaces with Robin's vocals. I like how it briefly erupts near the end, but the song works very well as an introspective break in the music. The closer "The Road of Endless Miles" doesn't try to impress with fancy tricks; no, this piece is pure and golden rock with fantastic guitar work, a memorable rhythmic hook, and an ambience that makes me want to listen forever. Between the gorgeous piano and melodic guitar work, the song easily becomes a favorite even if just because it sounds so damn attractive.

Cosmograf's albums are always worth the time, and it feels like Robin is only getting better at what he does. This album is quintessential Cosmograf, more so than anything else he's produced. Combine that with some of the feelings of Porcupine Tree's Fear of a Blank Planet, and you have a potent record that prog rock fans absolutely must hear.

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