A SHOUT INTO THE VOID

The fourth album by the Atlanta-based trio consisting of Daniel Graham, Dylan Porper, and Jeff Matthew, "A Shout Into the Void" features several new features compared to their previous double release, "Hymns for Hungry Spirits," released between 2020 and 2023.

The progressive-symphonic influences remain, but the songs become more concrete and have a more concise sound, absorbing those influences in a much more personal way. They also achieve the best sound/production of their career. And most importantly, the melodies (magnificent!) are still here, and they are present in each and every track. That's the key to "A Shout Into the Void": It's memorable, and every song has some element (or several) that hooks you (on first and subsequent listens): the aggressive vocals and beautiful piano interlude of "Utopia," the glorious chorus of "Rules of Engagement," the anthemic melody of "Brain on Fire" (perhaps my favorite), the aggressiveness and dynamism of the instrumental "One Thousand Eyes" (7 minutes that fly by in a flash), the organ and darkness of "You're Not In," or the epic finale that gives the album its name (beautiful, to cry and believe).

And let's not get confused. The technical quality is spectacular, but everything is in the service of creating the best songs possible, without inane moments of instrumental masturbation (sorry for the term). And here, Great Wide Nothing achieves it. And they finally manage to sound absolutely personal in every way. A wonderful album.

Ending an album with a song like "A Shout Into the Void"... BEAUTIFUL.

Although I like them, there was something about Great Wide Nothing's previous albums that didn't convince me (I like Volume II, "Hymns...", a little more). Maybe it was the production, or maybe I just lacked more consistency in the band's approach. I also didn't quite understand the prog-punk label they use to refer to themselves. On this brand-new album, everything makes sense. The band from Atlanta (USA) has found their sound. There's a rage behind Daniel Graham's voice (with that distinctive tone) that I understand could be reminiscent of the rebellious nature of punk. The songs here are also more concrete, although the musical level remains very high (an instrumental track like "One Thousand Eyes" clearly demonstrates this). There's a dark undertone throughout the entire album, but with moments of light and, most importantly, memorable melodies and choruses ("Utopia," the single "Rules of Engagement," "Brain on Fire," "Parting of Ways"? all of them!).

An album that solidifies Great Wide Nothing. The eight songs are excellent, with magnificent melodic hooks and great instrumental skill. And most importantly (and most difficult to find today in the prog scene): Good Songs.

The 4th album from this keyboard-centric Prog Trio from the U.S. I was a big fan of their last album (Hymns for Hungry Spirits, Vol.II, 2023), and this new album is even better. Delightful prog elements masterfully presented in an energetic hard-driving modern rock context, yet still maintains a strong melodic sensibility, with catchy melodies and hooks throughout. A concept album of sorts with a theme dealing with social commentary on our place in the world of today. Sensational keys/synth-work (Dylan Porter), from the backing aura to dazzling solos, always with just the right sounds and voices. Powerful bass and vocals from primary songwriter Daniel Graham, and dynamic drumming backing from Jeff Matthews. Impressive out of the gate with the hard-rocking openers Utopia and Rules of Engagement. The instrumental One Thousand Eyes displays the full-on Prog credentials of the band with a fantastic dizzying piece. The album concludes with the beautiful, powerful, and majestic title track, bringing together the theme of the album. A unique, powerful and excitingly enjoyable album that stands among the year's best. Best Tracks: One Thousand Eyes, Chain of Command, Brain on Fire, Rules of Engagement, A Shout Into the Void. Rating: 4.5

Fourth album by the American band formed by Daniel Graham (b/g/vo), Dylan Porper (key/vo), and Jeff Matthews (drs/vo).

They created an interesting debut with "The View From Olympus," which has been described as a legitimate evolution of '90s neo-prog, combining band arrangements based on vintage organs and synthesizers influenced by '70s art/prog rock with clear vocals and melodies characteristic of Neal Morse-style American progressive hard rock, creating an impressive depth and scale that's hard to believe comes from a trio arrangement.

Following the two-disc conceptual masterpiece of their debut album, "Hymns For Hungry Spirits," which was a more modern and technical take on their debut style, this fourth album, their first label release, marks a turning point where they've shed the blockbuster-oriented tendencies of their previous albums and instead packed each song tightly while retaining their strengths, such as catchy melodies and brilliant keyboard work. As exemplified by tracks like the somewhat growling "Utopia" and "The Parting of Ways," which combines a pop sensibility and sense of speed that seems to have been influenced by punk and melodic hard rock with progressive rock, this album is recommended for fans of I Am the Manic Whale or Moon Safari. A modern and stylish work, a 2025 essential album.