EMPIRES MUST FALL

On the heels of their devastatingly successful 2022 debut "Scissorgames" which not only blew up my body but also blew my mind (to paraphrase a famous Roxy Ferry lyric about a floating inflatable doll), Ghost of the Machine is back to haunt us once again with a sparkling sophomore album that cleverly nods at fellow Brit legends Galahad ,with a similar title to "Empires Never Last", must be the sign of the times, what? First off, the artwork from Claudia Caranfa is an upgrade on the previous album's rather gorgeous cover, and secondly, and perhaps more importantly, no personnel changes at all, as many of the members were involved previously in the merry-go-round of This Winter Machine. Since they have chosen stability, here are the names of the guilty parties: Dual guitarists Scott Owens and Graham Garbett channel their Wishbone Ash/Allman Bros muse, Mark Hagan handles the keyboards and is a complete revelation, the hyper busy vocalist Charlie Bramald is quickly becoming the talk of Progland, while Stuart McAuley on bass interfaces solidly with drumster Andy Milner. The band offers six killer tracks that will be released on March 7, 2025, but I got a greenlight to be the first to review this stunner 😊

The razor-sharp guitars take center stage from the get-go amply supported by the impressive percussive gymnastics of the rhythm section, getting the oil in the engine all revved up. Trilling and thrilling synth blasts inject the sizzle into the groove, as Charlie grasps the microphone with aplomb. "Keepers of the Light" is a forceful awakening that keeps running on all cylinders, a riff fest that will please even the most jaded listener. Time to briefly reload, and place the foot once again on the accelerator, "The Days That Never Were"reiterates the 6 string tyranny but slyly so, shying into contemplative splendour that permits Charlie to show his soft side for a few moments. This back-and-forth sonic conspiracy plays mind games of emotion and texture, the piano given a wide birth to add to the romance.

The next two tracks form the core of this album in my opinion, as both tracks are in the 12-minute range and clearly seek to impose of dreamier allure. The magnificent "Panopticon" is a highlight track that initially presents a more ethereal feel, where swirling synthesizer colorations amid soaring guitar flights establish a reflective mood to perfection. Out of the blue, the muscle-bound organ and the coarse riffs take over and hurl the arrangement into overdrive, the bass and drum partnership in tow, as Charlie reaches for the anthem-like chorus with ease. The moody piano hypnosis in the mid-section is orgasmic to the nth level, with Charlie crying his soul out for eventual deliverance. The lead guitar soars like a fiery phoenix flying towards the moon, liberated. The final section throttles up the urgency with notable finesse and power, a valiant process that will astound even the most callous observer. 'Prepare yourself' for this experience in advance ? The close companion now enters the spotlight, as the spectral "Fall Through Time" maintains the emotional pressure and the cinematographic sheen, as if a sequence in a stage play. The onset is silky smooth until the lyrical guitar pattern sets the score into full motion, blooming into a full-fledged prog piece that has fingerprint hints of IQ all over it's the evidence. The miraculous piano reappears once again, reigniting the beauty level and thus, giving added ardour to the irresistible pulsation. The real cool part is how the piano decides to offer repetitive and dissonant conflict with the swooping synth motif, an original usage that underlines the rhythmic qualities of the fabled instrument to perfection. The poignant urgency in the vocal and the sobbing guitar add to the drama. Breathtaking piece.

"The One" shifts back into an agitated simplicity, the rumbling bass scavenging like a prowler on the hunt, though I must say that Charlie's vocal performance is not only off the charts, but also off the altar and flung into the heavens. Mark Hagan gets to radiate on his synthesizers, sending gamma rays into the ether. Ending on an epic is as prog as one could possibly hope for, and "After the War" certainly advocates a cessation of hostilities. As an amateur military historian who visited many graveyards in Europe in my youth, I was immersed in the notion of the millions of young men senselessly dead, and secure in the knowledge that surely among them were many potential saviours of humanity, in arts, medicine and science, that could have altered our world for the better. This eloquently detailed composition possesses a haunting quality that transcends time and space, the melodicism planted in the divine, a majestic example of music that seeks to heal the wounds, both physical and mental of humanity's propensity for self-destruction. There is a brighter world in all of our souls, hope remains supreme that one fine day, we can sing together, after all the wars are over. Easily among the top epics of 2025, a classic piece in the making, you all need to hear this !

A thrilling work that will enthrall many aficionados of this style of music. Looking forward to the next one already. 4.5 Collapsed Domains

Second album from this UK Neo-Prog band. Guitar-heavy melodic progressive rock, with a definite leaning towards the sound and style of Rush (particularly the 80's version of Rush, with more keyboards, less proggy structure). Fine playing and musicianship, but the songs and style just didn't click with me. Single vocalist with no background or harmony vocals at all, so not a very full sound. Came across more as Rush wannabes without the needed songwriting skills. If that vibe and style is appealing, you will probably really like this, but it is not really for me. Not bad, just not that great. Rating 2.5

"Keepers of the Light" opens with neo-prog metal, punctuated by Andy's percussive drums; this sound is direct with the voice, Charlie as frontman, the twirling, pulsating synths and the bass bringing the groovy air. The guitars do the work and wait for the break to launch into a consensual solo before giving way to the keyboards; punchy, more edgy 2020 neo-prog, the one that was missing from the decade? "The Days That Never Were" airs spleen, majestic latency before the start. Charlie launches his crystalline voice, captivating for a message of hope. The sound looks to Arena, Enchant and Rush, distilling emotion in scales. The piano leads the way for this piece exploding into Supernova with a voice reminiscent of the Archangel by the phrasing-sung. A powerful track, hard prog melodic-new prog. "Panopticon" feels like a paranoid prison and a passage to another world, with Riverside's dark intro, fresh percussion, and a bewitching derivation, akin to Galahad and IQ. The break in the Genesis keyboards, their latest iteration, is clear, allowing Charlie to belch out a dynamite verse; the chorus on Arena, to which they could be heirs. The vocal break, laid back for a moment, the passage of the guitar solo on expressive pads, and its long development provide a delightful moment; three beats: "Real Eyes" vibrant, "The Watchman" dynamic, and "The Lie Of The Land" with the nostalgic Hammond for the major piece. Crystal- clear piano and melancholic guitar final.

"Fall Through Time," another psychedelic intro, gradually brightening on a jerky keyboard; the guitar meows, Charlie narrates his desire to change his destiny. Prog like we didn't make anymore, letting large spaces rise on the prog sap, the demonstrative pad on Pallas, Genesis. A piano arpeggio break then the synths, the guitar, we are at the dawn of a great departure. The rhythm is launched, penetrating your ears and imprinting a majestic proggy atmosphere with the Cheap Trick synth of the Heavy Metal title. Mark boasts a Marillion-style break inviting reflection; the guitar goes on the same band, I shiver. Charlie screams, modulates his voice and lets Graham unleash the solo of the month. "The One" smells of Arena for the nervous melody, the melting vocal and the strong rhythm. Conventional but fresh neo prog metal energy, catchy with the keyboard which fires out bewitching notes. A solemn radio edit glorifying prog. "After the War" for the end, solemn piano in arpeggio, Charlie starting slowly. An epic, grandiloquent melody on a great rise; a piano break with Mark ruling, Andy's drumsticks and cymbals coming to his aid. The dramatic evolution, Marillion for Stuart's vibrant bass, the guitars letting loose and foraging in this bucolic world of Charisma. The final guitar solo wrenches, melancholic, weeping, a crescendo finale, captivating one last time the ears of the modern prog fan in search of an OMNI album.

Ghost Of The Machine made the album a springboard from the neo-prog of the 80s and 90s, the new prog stronger, faster, longer, edgy, traveling between dream and reality with a touch of nostalgia.