IN FINE INITIUM

UK band NTH ASCENSION was formed in 2009, originally using the moniker Nth Degree, and solidified as a band unit in 2010. An initial demo was released in 2011, and in 2014 they signed to UK label Sonic Vista for the release of their official debut album "Ascension of Kings". In 2016 they left their former label to sign up for US label Melodic Revolution Records, who released their sophomore production "In Fine Initium".

Nth Ascension is very much an English band, exploring landscapes and sounds that were invented and developed on the British Isles. Melodic, powerful progressive rock is the name of the game here, and then by and large explored inside a neo progressive general context. Their take on the genre is one that relies heavily on alternating, contrasting arrangements and a striking lead vocalist further enhancing the dramatic aspects of the compositions. It's also a take on this style that has something of a steely edge to it at times, unlike the more pop/rock oriented artists you'll also encounter inside this general sphere of reference. For some distinct similarities, I suspect the sound explored by later day Pendragon is a fairly good comparison.

Majestic, powerful passages sporting firm guitar riffs and one or more layers of keyboards is the staple for the harder edged passages in these compositions, at times in arrangements with stronger similarities to AOR style hard rock, at other times, especially when the keyboard is less prominent, comparisons can be made toward Canadian powerhouse trio Rush as well. And on a few occasions the sheer intensity of those more powerful passages close in on the gentler side of classic progressive metal if not in scope then at least in a sound that is rich, powerful and striking. Offsetting these riff and keyboards powered sections are sequences of a more delicate nature, where plucked careful guitars, wandering piano motifs, crying style guitar solo runs and keyboard textures of a more ethereal character all have their place.

The combination of these two types of at times starkly contrasting themes and arrangements works really well, and the contrast aspect is explored in an effective and striking manner throughout this album. The subtly theatrical, dramatic lead vocals of Alan Taylor is a good fit for these compositions, and his vocal style and delivery does add something of a rock opera spirit to some of these cuts, giving rise to associations towards some of Clive Nolan's exploits in that specific department.

The aforementioned lead vocals may be something of a divisive aspect of this album however, as this may be just a bit too melodramatic for some, and the mix and production also gives this production a slightly closed in sound that may not be universally appealing. But besides those who know they have sensitive tastes in those departments, "In Fine Initium" comes across as a strong and accomplished production by this still relatively new band, and I suspect that those who know and love later day Pendragon and Clive Nolan's rock opera projects should be the crowd that finds this CD to be most satisfying.

For their 2016 album, Nth Ascension made the move to American label MRR, and the confidence they gained from the critical acclaim of their debut is clearly apparent. Whereas the debut 'Ascension of Kings' was an excellent album, this one just seems to have that touch more depth in every area. There are three songs more than ten minutes in length, and as well as channelling the likes of Pendragon and Clive Nolan there is also far more in the way of Pink Floyd, Magnum and Saga. The music is arranged in such a way that Alan's vocals are very much to the fore of everything that is going on, which to me is a huge benefit as he has more than a touch of Roger Chapman and particularly Cyrus (Citizen Cain) about what he is doing, although I am aware that it may not be to everyone's tastes.

It is a class album that is full of the Nineties prog scene in so many ways, and anyone who lived through that musical period such as I will be listening to this with a huge smile on their face, yet it has been brought both up to date in terms of production as well as looking back into the Seventies for inspiration here and there. Craig is a great drummer, driving the tunes from the back and adding fills and stylings when the need is right, always working the kit without overpowering the rest of the guys. His brother Gavin does far more to lock down the sound and keep it tight, but also moves away from grounding songs when it is time for him to add additional melody. Their dad either riffs, solos, or sits back and has a rest and does nothing, so that when he does make an entrance it always has an impact. Then of course there is Ten keyboard player and solo artist Darrel, providing curtains of sounds, or taking the lead, or adding dynamic piano, whatever is required.

The more I played this album the more I enjoyed it, as the more I gained from it. While the debut was strong, this is far more distilled, controlled, and so thoroughly enjoyable.