DOMINION

This album is going to be among the best of the year, I am sure of that.

The second album by Zopp is one of the best Canterbury albums ever made, for me it ranks among the best efforts by Caravan Soft Machine, Hatfield or Egg. The mix of experimentation, melody, rhythms and vocals is incredibly well balanced and makes a gorgeous listening experience. Most of the melodies are beautiful and will stick in your head for a long time.

Even if the album feels like a compact whole, You and Toxicity are the absolute winners here, displaying a vast array of moods and sounds (how I love those organ distortions!), but the kaleidoscopic Bushnell Keeler or the amazingly warm Uppmärksamhet are up there too.

A five star album without doubt, absolutely recommended for all fans of progressive rock out there.

And for round two of the crazy about the classic Canterbury jazz, the Nottingham based ZOPP returns three years after the lauded self-titled debut took the prog world by storm and found the UK finding its way back into the world of the improvisational psychedelic jazz-rock that emerged from those fertile county of Kent soils over half a century ago. Yep, it seems the Japanese have been wresting away this little nook of progressive rock from its inventors but ZOPP proves that there is still more than enough steam in this little genre that was never supposed to be in the homeland that has become the staple of prog rock fanaticism.

DOMINION is the sophomore release of the duo Ryan Stevenson and Andrea Moneta and has just hit the world in early February to vie for top album of the year. Stevenson is back for the attack with his multitude of mellotrons, Hammond organs, pianos, synthesizers and all things classic era prog along with percussionist Moneta and seven additional guest musicians and vocalists. Keeping in line with the golden years of prog on vinyl, DOMINION features seven tracks that just squeak over the 42-minute mark with the closing "Toxicity" featuring all the pomp and excess that true prog lovers crave with a running time of over 14 minutes!

Slaving away in their Nottingham studios has been fruitful and the album strikes a pleasant note from the very beginning. Sounding like a classic Canterbury act graced with the benefits of modern mixing and production, "Amor Fati" wastes no time introducing a warm tone that sustains through the entire album. One of the first things that noticeably different from the debut is the use of vocals this time around with not only Stevenson offering his best utterances but also with the divine diva duo of Sally Minnear and Caroline Joy Clarke offering some feminine touches to the nerdy masculine musical workouts.

No sophomore jinx here as the band effortlessly and nonchalantly cranks out classic Canterbury sounds that never were but should have been with nice percussion driven rockers graced with atmospheric cloud covers with jazzy sax accompaniments and folk-fueled flute. The tracks are as diverse as the debut with chilled out psychedelic numbers ("You") followed by bouncy uplifting rockers ("Bushell Keeler") and then pastoral folk-fueled placidity ("Uppmärksamhet.") Knotty hairpin turn rich complexities a la National Health have been completely melded with angelic Hatfield & The North etherealness while Wyatt-free Soft Machine jazz-rock passages decorate the varying musical motifs in a menagerie of classic Canterbury crammed into every nook and cranny of the musical processions.

There has been a great boost of confidence on DOMINION as if these guys have come of age with strong compositions that evoke the visionary carefree craftiness of Supersister with a sense of defiant ambitiousness not heard since The Muffins. Vocal references from Hatfield & The North suddenly give way to electronic weirdness on "Wetiko Approaching" while the closing proggier-than-thou closer "Toxicity" rocks the classics Canterbury style with a vocal led guitar, bass and drum dominant number that showcases some of the tastiest piano playing in any era of Canterbury. And just as soon as it begins it feels like it's over, the sign of a true smashing success. You simply want more! Even Robert Wyatt inspired vocals come to the party!

These guys have scored another huge hit with DOMINION and although many a band has tried to catch those classic Canterbury sounds and bring them into the modern world, few have done so as convincingly as ZOPP and with a second classic album in a row, it seems there is no end in sight! Tightknit grooves - check. Canterbury warmth - here. Fuzz fueled organs and jittery rhythmic grooviness - oh yeah! Excellent compositions that offer more than enough variety to sustain an album's worth of material? Without a doubt! Honestly there's not a weak moment on this one. Add to that this album sounds totally original, not just another tribute to the past. Another major score for Nottingham. Sorry Canterbury, i think ZOPP has successfully usurped the throne and now we must call it the Nottingham Scene!

I'm honored to be one of the first ones to review this spectacular sophomore effort from UK based Canterbury band, Zopp. This album will go down in history as one of the greatest Canterbury albums in history, hopefully bringing back the movement. I loved the debut from these guys but, I might like this one slightly better. The duo of Ryan Stevenson and Andrea Moneta really out does themselves on this album especially with Stevenson's superb keyboard work throughout the entire album.

The 2 minute introductory track "Amor Fati" opens the album serving as a primer for the rest of the album. It includes some very nice organ and choir work from the guest singers (Sally Minnear, Caroline Joy Clarke). It is followed by the 10 minute epic "You," which was released as an EP before the release of the entire album. Beginning with a piano intro which is overlaid with organ and other keys, the track takes a classic explosive Canterbury style turn with a fast high octane sequence which eventually leads into vocals. I absolutely wore this song out even before the album dropped, and it is my favorite track off of the album.

Track 3, "Bushnell Keeler" is the lead single off of the album. In my opinion, it is the most representative of Zopp's sound as a whole. Featuring some amazing saxophone work and more immaculate Canterbury keyboard tones, very reminiscent of Caravan. "Uppmärksamhet" is a softer ambient song containing acoustic guitar over organ and flute licks. Probably the weakest track on the album by far.

"Reality Tunnels" is one of the highlights off the album. An absolute show of sheer instrumentalism similar to works of Camel of ELP. A very fast song that goes through many themes all centered around a main idea. The bass lines and Percussive organ on this song get pretty wild! The beautiful vocals and piano of "Wetiko Approaching" only last for a little over a minute before being replaced by eerie ambience which leads into the closing epic, "Toxcity." Clocking in at a little over 14:00, this song is a true show of just how talented this band is. Another highlight on the album, the song goes through many movements being mainly dominated by keyboards and guitar from Stevenson. Towards the end of the track one of the session saxophonists plays an insane crescendoing solo, as the song comes to a fitting close just a minute later.

This is being written on Febuary 3rd, 2023 the day of this albums release, which I'm sure will become a historic day amongst prog fans soon enough. A roller coaster of an album, going through many different styles and themes, this album is almost a 5 star. The only reason I didn't give it a 5 star was because on a few tracks the riffs can get a little repetitive. Other than that, an immaculate show of progressive rock at it's finest. Easily the best album so far in the 2020s.

Uber-talented multi-instrumentalist Ryan Stephenson is back after his very well received and highly acclaimed Canterbury-lite styled debut album of 2020. This one is a bit more sophisticated and imitative while drawing a few more distinctive styles into his purvey of musical vision (and execution).

1. "Amor Fati" (2:10) an exact and perfect duplication of the Hatfield & THE NORTH style for all those two-minute ear worms--even down to the quirky anti-rock construction, wordless vocals of two female vocalists (The Northettes 2.0!) and instrumental sounds. Brilliant! (5/5)

2. "You (10:57) Vocals! Really fine, melodic ones, at that. It's as if Dave Stewart joined 10CC instead of Bruford. A great composition as well as a very engaging and enjoyable song. (19.5/20)

3. "Bushnell Keeler" (5:07) The sound is still based in the Canterbury familiarity, the composition is a bit more straightforward and simple (not unlike much of the music on Zopp's debut album). I like the addition/use of the thick wall of horns and flute to bring/carry the melody lines. But, like so many of Dave Newhouse's compositions of the past ten years, this one feels under-developed and kind of one-dimensional--like a bunch of instruments and their highly- specified sounds just trying to get to an end point; the music feels like it's merely a means to and end. (8.75/10)

4. "Uppmärksamhet" (3:14) a song that takes its sweet time in defining itself much less a direction. It's more like an exercise or étude in creating a mood--a feeling of waiting, of Limbo. (8.5/10)

5. "Reality Tunnels" (4:11) rock-driven Canterbury sounds that attempt to cross over into the Hugh Banton/Van Der Graaf Generator realm of heavy prog (complete with Hugh's famous Hammond riff from "The Sleepwalkers"). It's quite successful at adopting that VDGG sound yet somehow it falls short in capturing the menace and gloom that Peter Hammill & Co. delivered. I think this is due to the fact that the music continues to remain mired in a palette of instruments and chords that comes from Ryan's Canterbury allegiances; it's as if the two styles (VDGG gloom and happy-go-lucky Canterbury-ness) are in conflict with one another. This conflict never seems to resolve itself and, to me, feels unsettling and deceitful. (8.75/10)

6. "Wetiko Approaching" (2:00) an interesting little dittie created out of a tonal étude--similar to the way Richard Sinclair and Dave Stewart used to work out interesting pieces from some of Dave's mathematical melodical explorations. (4.5/5)

7. "Toxicity" (14:22) opens with a clear attempt to fit into Gentle Giant's shoes. Not bad except that Ryan's Trevor Horn voice is not near enough to that of Derek Shulman. Still, this is a skillfully conveyed prog song of worthiness to stand on its own if we just let go of comparisons to the old masters. I love the Phill Miller-like guitar in the fifth minute. The BUGGLES-like lyrics and singing are actually quite enjoyable (and, of course, nostalgic) if a bit incongruous with some of the music. In the end it feels like a direction that a band of prog artists like ASIA could have taken had they wanted to retain their prog mantle and not travel so desperately into the radio-friendly pop realms. It does feel nice to hear someone finally giving props to Trevor Horn/Buggles (and maybe a little to Andy Partridge) with their vocal performance. In my opinion, they are both artists who are definitely worthy of more adulation and imitation. All in all, this is actually quite an enjoyable romp through some very pleasant soundscapes. While I'm not sure this would qualify as an "epic", it is definitely an excellent adventure that Ryan has taken us on. (27.5/30)

Total Time 42:01

Like countrymates ANTIQUE SEEKING NUNS (who turned into SANGUINE HUM), I guess Ryan just wasn't content to stay in the Canterbury lane, he had to branch out into other forms and styles of progressive rock music--which is fine-- especially considering the quality of the results! All fine melodic prog songs that continue to ring out nostalgic sound. The Dave Stewart keyboard sounds are all still here on this album, it's mainly some of the forms and flows that differ from the revered Canterbury styles of the 1970s. While I was not a fan of the simplistic "watered down" instrumental Canterbury-inspired music of Ryan's debut as Zopp, I am won over by this wonderfully mature and masterful collection of songs.

A-/five stars; a minor masterpiece of Canterbury-based nostalgic prog rock and an excellent addition to any prog lover's music collection. If Ryan continues in the future to develop and explore as he has to make this album, I will become an avid follower/admirer.

In 2020, the world of progressive rock was treated to the sound of an exiting new band from Nottingham, namely Zopp. Move on three years, we have album number two, entitled Dominion. If Zopp One, was an amazing debut album, or in culinary terms, a tasty hors d'oeuvre. Dominion, is without doubt, a Michelin 5 star, main course.

I know we are only just into the second month of this calendar year, but already this record is going to be a contender, for prog rock album of 2023.

Ryan Stevenson, the brain child behind this project, has proven to be a multi faceted song writer as well as being a very accomplished keyboard and guitar player. Dominion also showcases his vocal abilities on three of the tracks, which were kept under wraps on Zopp one.

I think what sets this record apart, and Zopp in particular, from other artists of this genre, is the diversity of composition. As with the first album, every song is different. Alright, there are the historical Canterbury sound reference points, with the opening track "Amor Fati" and the short but very sweet," Wetiko Approaching", and Ryan's penchant for the Dave Stewart esque fuzz organ sound, but there are so many other varied and wonderful influences on show here, from jazz , to ambient to traditional prog, that it is impossible to pigeon hole this band into any particular category.

Without doubt, Zopp deserve to do well with this album, as there has obviously been a massive amount of detailed input and well constructed melody injected into every part of the record. I hope for their sake, that it falls on enough appreciable ears.

A great effort from Ryan Stevenson and the other musicians associated with this project. undoubtedly a 5 star performance in every sense.

After some heavy stuff I listened to close 2022, this is exactly what the doctor ordered. What joy, creativity, and playfulness is this album by Zopp.

Amor Fati is a great opener that has a great mood and melody 9/10

You is an absolute banger of an epic 10/10

Bushnell Keeler is funky at times but also has melancholic brakes. It might not stand out, but if this is the minimum quality of this album, then that's a great sign. 8/10

Uppmärksamhet is very slow and moody and feels like an interlude 8/10

Reality Tunnels has a lot of energy and variation in only 4.11 minutes 8.5/10

Wetiko Approaching is a great short song 8.5/10

Toxicity is a fitting and great closer with great use of the Mellotron. 9.5/10

What an album. Heartwarming on a cold February day. 5 stars!

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!

5 territories

As you know enough, UK-based contemporary Canterbury Scene artist Ryan STEVENSON aka ZOPP won the award of "2020 PA Collaborator's Album Of The Year" with his debut eponymous album. Time passed quickly and we have looked forward to their second opus for almost three years. Our anticipation got the peak when they announced his new album would be released in early 2023. His latest creation titled "Dominion" meets our strong expectations finally. Such a crooked sleeve pic expresses his distorted but incredibly consistent, naturally integrated soundscape in a well- balanced manner.

So beautiful is the short impressive first shot "Amor Fati" featuring a gracious female chorus and complicated (but refined) keyboard or guitar works. Could I say the fervent prologue drives us into a dream? What a wonder. One of their masterpieces "You", already launched as a singlecut last year, is also enthusiastic. Deep heavy keyboard plays along with Andrea's strict, stalwart drumming craze us so badly. Cool melodic heavy rock structures in the middle part remind us of the similar vein to 70s British Rock legends like Led Zeppelin or Deep Purple. Guess such a catchy moment might be good for Legendary Rock fans, right? "Bushnell Keeler" involves favourable vibes regardless of eccentric, complex melody lines or rhythm bases. Fluent pioneering saxophone vanguards stabilize and humanize this universe, but there is no compromise all over the work.

Full of rich, matured, friendly texture is deep in "Uppmärksamhet", followed by "Reality Tunnels" that immerses us fully with uptempo solid attacks and old-fashioned aromatic psychedelic keyboard magic. Mysterious adventures in some dark tunnels in our real lives can be experienced. And their rigid, clear visions encourage us definitely. The last "Toxicity", despite a horrible theme, gives us fantastic pseudo-toxic-happiness fully utilized with rock-ish instruments and innovative sound touches by Ryan. Not virulent nor negative but clean and cool sound fusion should be perfect and professional. Why don't we call the Toxicity beneficial?

Come on everybody, wondering if we have already bumped into one of the best creations in 2023. Let me say it's not overestimating.

Some years ago I really wondered, why Wobbler´s "From Silence To Somewhere" was in the very high place in Progarchives All Time Progalbums list. Now the same seems to happen to Zopp's second album. I am not saying that Wobbler´s album is bad, but does it really belong in the all time prog albums list? My opinion is: really not! So I decided to listen "Dominion" if there really is some substance in the hype this time.

I am afraid I have to say there´s not. As Wobbler album, this is not sounding bad. But question is in every great music to me is there anything new? Not in "Dominion". All the way it reminds me Hatfield And the North or National Health -albums, well maybe this is little bit softer and less complicated. I believe if this album had released under one of those bands names, nobody would have suspected there be anything strange. I think both Zopp & Wobbler are bands that have listened their favorites carefully and wanted to make same kind of music as they and nothing in a different way. I don´t think that is good way to make great music

This really isn´t a bad album and it maybe deserves 3 stars. But because this band hasn´t got any own personality, I just can´t give it more than 2 stars. To all young fellows who are interested in Canterbury Prog, I suggest that you listen to Caravan´s, Soft Machine´s, Gong´s etc. classic albums instead of this.

It's an almost 100% repeated musical product. If not recycled. A sort of a meal that once had been already eaten. Often compared to Egg or National Health, in other words, Ryan Stevenson as a composer is often compared to Dave Stewart as a composer. But Mr Stewart discovered and explored new musical continents, while Mr Stevenson just plays Canterbury like a game. And what was a revelation in the music of Egg or National Health (full of life) turned into armchair academism in the music of Zopp (artificially sophisticated). Yes all the albums by Egg (especially The Civil Surface) and National Health (especially D.S. Al Coda) were mostly built of illogical sound constructions, as well as is Dominion. But just remember all those mad combinations of sounds in (for example) A Visit To Newport Hospital: all were really interdependent (while remaining mad). On the contrary, seemingly similar sound constructions and even themes here in Dominion are mostly unnatural. The only exception is the middle section of Toxicity which is really mighty, real-life and full of sincere emotion. As for the rest... well, it might sound great if composed and released back in 1970s in the fairway of Canterbury protagonists. Then Zopp would take its place as an excellent 'second echelon' Canterbury band. But as an original and independent phenomenon of 2020s, Zopp does not work. Though nobody will dispute that Stevenson plays a lot of instruments really fine. As a composer, he has enough talent and more than enough professionalism but lacks effrontery. (In a good sense of course.)

Zopp is a one-man (person/AI?) band from Nottingham, UK. Ryan W Stevenson is composer, mixer, producerand performer, a trend we see more and more in these financially troubled times. Thankfully he employs the services of a real drummer in addition to a little help from his friends. His new offering "Dominion" follows hot on the heels of the well-received debut "Zopp". Unfortunately that is where the good news ends. The canterbury-esque influences are plainly in evidence, ranging from the foxy little organ sound reminscent of Hatfield & The North's Dave Stuart, to the Soft Machin-ish saxophone and the sweet female choirs. But comparing this output to Soft machine, Hatfield or National Health does the creators of the canterbury movement little or no justice. Zopp haven't managed to raise the bar compared to their excellent debut, a difficult feat for any artist. A comparable group such as Alco Frisbass are able to get motre exciting with each successive release. Or have listen to Richard Sinclair's wonderful collaboration with Accordi dei Contrari in "Il L'Ombra di un Sogno". Truly canterbury for the modern age. Not looking back but trying something very different. This is Caravan with more talent, better playing, more experimentation. However all is not doom and gloom. First and foremost, this an instrumental album, which already makes it more interesting and challenging in my book. Next, it feels like an organic whole, where every track is connected to the next. The songs "You" and "Amor fatis " are a cut above the rest and make you settle back in your armchair and crank the volume. This pleasure is short-lived and I cannot award more than 2 stars for this failed attempt at a worthy successor to Zopp the 1st.

Well Executed and Enjoyable Retro-Canterbury - Nothing More, Nothing less

I am a big fan of Dave Stewart's dirty organ. Not like that, Beavis. Clearly I am not alone, as Ryan Stevenson (Zopp being the name of his solo project) seems to have made a study of Stewart as part of his life's work. One of my favorite prog albums of all time, Khan's Space Shanty, is a Stewart showcase. As a result, from the opening minutes of Zopp's Dominion, my ears perked up quickly. To my delight, the entire album has Stewart's signature all over it, and not just the distorted keys. There are compositional choices, instrumentation, and overall tone that evoke not only Khan but Stewart's other projects such as Egg and National Health.

I am not a fan of all Canterbury. I like the jazzier, complex compositions and less the whimsy and completely avant garde attempts within the genre. (I don't like Caravan and Soft Machine as well as the aforementioned bands). Zopp / Stevenson hits the sweet spot for me in that regard. All the songs are very intentionally composed, have a lot going on at once, and utilize a broad palette of textures. Male and female vocals, horn sounds, guitars, and a wide variety of key sounds - all the ingredients are here. Most importantly, Z/S is a very good instrumental songwriter. I think the compositions develop well, move me through a range of emotional headspaces, and that the record is well mixed and performed.

Some reviewers have complained that this is derivative and it is. They state the originators including Stewart were boldly going where no one had gone before and that Stevenson is treading no new territory - and they are right. However, the same can be said of a vast number of bands, many of whom are all aping the same narrow set of musical acts. There aren't that many retro-Canterbury acts, especially this particular lane in the Canterbury style. As I've said in other reviews, you don't always have to re-invent the wheel. And there is only so many times I can re-listen to Space Shanty. Having new material in this wheelhouse is a great joy.

Finally, the fact that this music has some modern polish and is not swinging for seats and sometimes missing means that it could be a good entry point for fans of other segments of prog to try out Canterbury.

I don't think this is a masterpiece and doubt this will be my personal album of the year, but it's a great piece of work that I've listened to as many times as any other album in 2023 so far. Cheers to the artist.

A second offering from one of the most exciting new bands on the prog scene. Here they gently push their sound beyond the Neo-Canterbury of their debut into the wider world of psychedelic and experimental rock. We still get lashings of distorted organ, jazz-tinged chord progressions, knotty rhythms and unpredictable melodies; but the addition of vocals and electric guitar expands their compositional range in intriguing new directions.

Dominion is an album full of texture, depth, and pioneering spirit. Zopp may still be drawing heavily on the past masters, but they appear to no longer be in hock to them. This is definitely a good thing.

Track Highlights: You, Toxicity

You could fit all I know about the Canterbury Scene on the head of a pin and still have room for the Chinese Army, but the good news is that that's the last of such clichés we will be employing in this review.

I've enjoyed some Caravan and Soft Machine from time to time, but overall, the genre didn't feature prominently in my album rotations. So when I noticed Zopp's 2023 release Dominion getting a huge amount of buzz among prog fan circles, I gave the album a fair listen.

My preconceived trepidations led me to expect a challenging, impenetrable, or deeply inscrutable work, predicated around the apprehension that the album showcased self-indulgent meanderings in lieu of connective musical artistry. Boy, am I pleased to report that this couldn't be any further from my experience with Zopp's sophomore album.

While it does not suffer from any lack of intricate musicianship, compositional innovation, or Canterbury-laden idiosyncrasies, the album skillfully suffuses them along and among enthralling melodic content. Dominion is a thrilling and impactful fusion of numerous progressive rock elements into a cohesively engaging work.

The slow organ drone, keyboard-driven riffs, soft drumming, and abstract vocalizations by Sally Minnear and Caroline Joy Clarke on the opening track 'Amor Fati' might lead one to believe the record is immediately diving deep into avant-garde territory. Make no mistake though, these and other disparate elements culminate into a driving musical purpose that leads directly into the second track 'You,' a riveting 11-minute showcase, almost a mission statement.

Stevenson's keyboards and Moneta's drumming ramp up 'You' with swirling musical tension as a prologue, and then powerfully resolve into the song's intro, developing its central melodic themes. Drenched in fuzzy keyboards and Stevenson's affected, slightly nasal vocals, alongside tasty sax work from Mike Benson, 'You' engages so directly that, when the sojourn ends after 11 minutes, it still feels sudden. Not jarring or incomplete by any means, but sudden. You don't want the ride to end.

'Bushnell Keeler' moves into different but no less intriguing territory. Almost out of the gate, the song hits us with some predominant tenor sax work from Jørgen Munkeby, which, complemented by Stevenson's organ lines, lends an air of Steely Dan-esque Yacht Rock jazziness. Munkeby also provides some flute accompaniment, and the fuzz and distortion used to beef up the overall tone evokes early King Crimson. With all these disparate elements, it could be easy to lose the thread, but Stevenson brings the entire mix into resolution as a satisfying, complete piece. 'Bushnell Keeler' disarms with its breezy, uptempo melodic charms.

"Uppmärksamhet" drops the tempo with a somber, melancholic keyboard rumination in quiet conversation with a reassuring bass line. A shimmering piano line falls like raindrops over an acoustic guitar backbone, with outbursts of electric organ and guitar like desperate voices working through the atmosphere to grab our attention. Of all the album tracks, this is the only one that I felt needed more time and development, as the hypnotic scene painted by all the instrumentation is quickly shattered by "Reality Tunnels."

"Reality Tunnels" hits hard, fast, and with the immediacy of a grade school recess bell. The aura is frenzied and dynamic, with a heavy focus on its driving rock elements. Here is where we have some really strong bass work that is prominent through the track, locked in place with Moneta's drumming but still with room to really walk and groove. Moments of distorted havoc are balanced with piano interludes that attempt to bring the song's frenzied eccentricities in for a soft landing, but instead opts for resolution via mellotronish dissolution (alongside a final drum fill from Moneta). "Reality Tunnels" is a satisfying romp, a total brat of a tune: childish, petulant, and utterly unyielding.

We take a breather with "Weitko Approaching," in which Stevenson returns to the microphone to deliver a measure of a piano-driven ballad. With its subdued, somewhat shambling atmosphere, this is the shortest and perhaps least- developed song on the album. Viewed as a prologue into the next track, "Weitko Approaching" works much more effectively.

And speaking of the next track, "Toxicity" triumphantly closes the record in grand fashion. This piece indulges the listener with a thick melodic fusion of symphonic and eclectic prog, flowing with both purposeful uptempo drive and a loose, innovative spirit. The centering riff roots itself in bluesy, minor pentatonic territory, practically Zeppelinesque, providing the foundation around which Stevenson and company layer a barrage of dynamic musical content. Stevenson's howling vocals remind me of Sting and Ross Jennings (in style if not quite in timbre), bringing assertive inquisitiveness into the mix.

The song maintains momentum with multiple instrumental stretches featuring organ, sax, and guitar solos scattered throughout its runtime. There are even two vocal shout outs to King Gizzard and the Lizard Wizard, who Stevenson cited as one of the album's inspirations. Rob Milne's sax and flute work deserves recognition for adding splashes of tone and character that contribute to the song's overall cohesive flow. "Toxicity" might be the most musically concordant ode to entropy I've heard in a good while. And much like the epic opener, when the closing track ends, even at 14 minutes, it still feels too soon.

Dominion is a great album. I mean it though, this record provides uptempo rock, proggy innovation, jazzy swing, tight musicianship, and impressive compositional development throughout. Sure, you can appreciate any and all of the lofty, innovative elements, but these songs go for both the head and the heart. While I could (and did) nitpick some very minor criticisms, none of them detract from the album's overall quality. Zopp crafted a deeply engaging and satisfying experience with Dominion.

I've discussed the Canterbury sound on this site a number of times. Its heyday?like much of progressive rock?was back in the early 1970s, but even then it was somewhat niche. Despite that, there are a few acts still keeping this sound alive, and Zopp is one of the best ones.

Zopp's 2020 self-titled debut wound up being one of my top albums for the year, though I never reviewed it before my year-end best-of list. It wasn't some late-in-the-year surprise for me; I just never got around to covering it. But I don't want to have that be the case again. The two pre-release singles for Dominion had both been great, so I went into this record with pretty high hopes. On their Bandcamp, the band describes this album as being closer to Yes or Marillion than any Canterbury act, but I have to disagree. If I'm looking for good comparisons, I'm still going to cite Soft Machine, Gong, and (especially) Caravan.

This new album opens on "Amor Fati", and a weird, celestial blend of guitar, organ, and wordless vocals set the scene. It's a short introductory track, but it does a good job at conjuring the mood for what is to come.

What follows is the 11-minute lead single, "You". A tense ostinato piano drives its introduction along, and multiple organ parts flesh out the overall sound. It eventually bursts into a fuzzed-out, extended section of soloing that is virtuosic and complex without being smothering or off-putting. Buzzing bass and a uniquely-Canterburian organ tone lead into a lightly jazzy verse. Zopp was an instrumental record, so the inclusion of vocals is a new development for this duo. Everything-but-the-drummer Ryan Stevenson's voice reminds me of that of Alex Crispin of Diagonal, and the piano-forward backing only underscores that comparison. The song features an interesting, Beatlesesque melody in its second half, and the fusing of psychedelic and progressive sounds works great.

Saxophone takes the lead in the opening of "Bushneil Keeler". This song has a bouncy feel to it, and strands of jazz and folk are noticeable. This instrumental cut has some great momentum, and the way the sax, organ and flute play around each other is highly satisfying.

"Uppmärksamhet" (Swedish for "Attention," according to Google Translate) starts with a lazy, glassy organ. Acoustic guitar and adds a woodsy character, and fuzzy guitar languidly floats over the top. This song acts as a nice, relaxing palate cleanser between the higher-octane cuts on Dominion.

Speaking of higher-octane songs, "Reality Tunnels" launches into an irregular, jumpy riff, where organ and guitar synchronize on a crunchy lead. Mellotron adds a lushness to the backing track, and though it's never given the uninterrupted spotlight, I really like the bass work on this song.

"Wetiko Approaching" is a short song, with strong folk influence in the vocal melody. The instrumental backing is relatively pared-back, and it feels more like a lead-in to the next song than a composition meant to stand on its own.

Dominion ends on its longest song, the 14-minute "Toxicity". The rhythm is propulsive, and that distinctive Canterbury organ tone is once again at the forefront. Stevenson's vocals here are strong, complementing the creative and dynamic composition. It's impressive how the band is able to keep up the energy and intensity without this track becoming tedious or exhausting. As the song enters its final few minutes, there's a sense of upward momentum, and an extended instrumental passage that sounds like it would have been at home on Hot Rats is a lovely inclusion.

Dominion is a fantastic release, and it's an improvement on Zopp's stellar debut. The integration of vocals is smooth and organic, and the music has a satisfying complexity and a rich breadth of tones. They nail the mingling of organ, crunchy guitar, and wind instruments; and the Canterbury sound hits that sweet spot of retro-but-not-derivative.

Review originally posted here: theeliteextremophile.com/2023/02/20/album-review-zopp-dominion/

Ok, this is new for me. I've seen reviews of this album for months, and although I've listened to some songs and even recommended them here, yesterday was the day and I took a walk listening to this album. What a surprise!

I'm kinda new with this genre and musical style, not a big fan to be honest, but after listening to that I'm curious ;)

This album is a nice psychedelic jazz influenced trip, with that Canterbury sound, that can transmit different emotions in a few minutes.

It starts with that intro "Amor Fati" really mystic, weird but with an excellent orchestration, you don't know what to expect from this album. "You" kicks in with distorted guitars and organs, vocals are excellent, nice trip. "Bushnell Keeler" is the perfect example of that mix of feelings, as it starts rhythmic with psychedelic melodies and becomes more chaotic at the end. But you have calm and contemplative moments like in "Uppmärksamhet" (so beautiful).

The icing on the cake... the last song. "Toxicity" brings you lots of textures, virtuosity and an intense ending for this great album.

This is very likely my album of the year for 2023. I need a couple of weeks to finalize that list but in the meantime after two spins of "Dominion" I'm thinking top ten for sure but it won't crack my top five. Well after 5 spins I'm adoring this record and hailing it as the best record I've heard from this past year. Ryan Stevenson plays just about every instrument known to man then we get LEVIATHAN's drummer making ZOPP a duo plus six guests including two females doing their Northettes impression. Three of the guests are playing sax with two of those adding flute.

Beautiful cover art and thanks for the post card version of it that came with the cd only this is a closer-up version of it with different colours. Funny picture of Ryan looking lost in the sea of tall grass too in the liner notes. I can't get over all the distorted keys and organ on here plus mellotron. Not fair! Too good to be true. I really like the drumming and the bass is upfront plus we get electric piano. The guest sax and flute really adds a lot to the sound here.

And while this is a straight-up Canterbury album a song like "Bushnell Keeler" is more Jazz Rock and brings so many bands to mind. A feel good track if there ever was one for yours truly. I like the RPI-like pulsating organ on "Reality Tunnels". This song hits the ground running and different instruments will lead. Lots of energy and Canterbury at 2 1/2 minutes.

The two tracks though that steal the show here are "You" at 11 minutes and the closer "Toxicity" at over 14 minutes. Dreams do come true. Man the emotion after 6 1/2 minutes on that closer is just a small piece of the joy this record brings me. Love the distortion, keys, vocals, sax and guitar late on "You" but the closer might be better, flip a coin but that's 25 minutes of some of the best music I've heard this year.

We are very fortunate to have a talent like Ryan Stevenson making our music and for me he just out-did his debut and then some.