EUPNEA

This was a totally unexpected pleasure! Since the band's last studio album, Hammer and Anvil, was released in 2010, I had thought they were kaput.

Other reviewers comment on the "return to the form of their debut (The Dark Third)" while some have noted what I feel is a more accurate description of Eupnea being a kind of perfect mélange of all three of their previous albums. The atmospheric spaciousness of TDT is definitely present in spades?as as re the wonderful multiple layered vocals of Chloë and Rob--but the heavy chord play and darkness of Amor Vincit Omnia and Hammer and Anvil are also quite present. Where this album shows its weakness, I'm sorry to say, is in the lyrical content. WTF are they talking about? These lyrics are too banal, too personal, and not poetic enough to stand alone without interpretation. And then, with Jon's nicely laid out song-by-song run through (on louder sound website) it brings more clarity and significance to each song's lyrics but it shouldn't have to be this way. I'm looking for transparency with the sensuality of Baudelaire, not hidden meaning within a sub-functional vocabulary. It's very disappointing to me when so much effort is spent on creating such beautiful, meticulously charted vocals when the messages being conveyed are naught but nugatory persiflage.

Still, many people are remarking on the band's newfound "confidence" and maturity and I will second this: the way the music is spread out and in no hurry to start, develop, or finish indicates to me a band that is very confident in what it is doing?enjoying every note and every nuance of each song's journey. And it pays off as this spaciousness allows for the listeners to have some really meaty material to sink into?and sink deeply!

Music: 8.75/10; sound/production: 9/10; lyrics: 7/10. Unfortunately, this is not an instrumental album.

Five star songs: 2. "Silent Genesis" (10:20) (18.25/20); 4. "Ghosts & Typhoons" (8:45) with its amazing second half (18/20), and; 6. "Eupnea" (13:23) (26.5/30).

Four star songs: 1. "New Obsession" (5:07) (8.67/10); 3. "Maelstrom" (5:44) (8.33/10); 5. "Beyond Our Bodies" (4:28) (8.5/10)

B+/4.5 stars; a near-masterpiece of progressive rock music. It's so great to have Pure Reason back! And I'm happy for the positive outcome of Jon's daughter's premature birth.

Pure Reason Revolution is one of those bands that started off strongly with their album 'The Dark Third' in 2006, an album that would instantly get a lot of respect in prog circles, especially among Pink Floyd fans. Their music mixed those lush PF sounds with their own unique male/female layered vocals, at times becoming very exploratory and giving a space rock mentality. Everyone was interested in where this band would go. Unfortunately, they moved to a more radio-friendly sound, and the follow up albums 'Amor Vincit Omnia' and 'Hammer and Anvil' did not stand up to the expectations set by that debut album. After ten years of becoming basically a memory, everyone had given up on them and had to settle on their one excellent album. Suddenly, the announcement was made that their new album 'Eupnea' would be released in 2020 and that it would be a return to form. Yeah, we've all heard that one before. But I have to admit that I was curious anyway.

So, I heard the new album once, and thought it sounded really great. But I had to be sure. So I listened more, and things just kept getting better the more I would listen. Not only has the band had a 'return to form', but they have also 'progressed' their sound to include a wider palette of styles making themselves more 'eclectic' in a way, effectively infusing other progressive styles into their music. Jon and Chloe have returned, and in a big way.

'New Obsession' sounds a few steps more promising than what we have been hearing from the band in their last few albums. There is a level of the poppiness there, but there is a definite return to form, at least somewhat. However, with 'Silent Genesis', the band not only returns to full-form with an amazing 10 minute track, but even steps ever so confidently into both progressive metal and jazz fusion territories as the track continues. The music as a result sounds so much more mature with a track that is even better than anything on their masterpiece album 'The Dark Third'. What an impressive track, and now we hear that the compositional genius of the band has only been laying dormant for several years, only to be awakened with a vengeance on this track.

'Maelstrom' then takes on a nice, slick and lush sound with Chloe taking the lead vocals alone this time before eventually sharing them with Jon later on. Now, we've got a track that sits quite comfortably among a more artistic pop sound, one that merits a spot alongside some of the better tracks of Alan Parsons Project, but with the unique PRR harmonies. But, it picks up some steam by the last third of the track with a great balance of vocals/guitars/keyboards. Very nice. 'Ghosts and Typhoons' goes back to a longer form track and begins with a sound more reminiscent of the songs on 'The Dark Third', that sound that so effectively brings in the Pink Floyd-ian styles that were explored so well on that album while retaining their unique vocal styling. But, you are not left to just float along for 8 minutes, like you might have been on that previous album. This time, the music becomes heavier and more intense, using dynamics to their advantage to create more depth. Then, to make it even more interesting, you get splashes of some great symphonic styles which later give way to layers of heaviness as it all re-develops to end in a powerful way.

The rest of the album continues to impress and amaze, especially with the 13 minute title track. When you listen to this, you will know that it is still the same band that created 'The Dark Third', but have even improved beyond that, which is what you would expect from any top-rate progressive band. I definitely had my doubts that PRR could ever come close to their debut album, but not only have they come close to it, they have surpassed it. Now they have done something that I had never expected them to do, create an album that could easily contend for the best album of the year. It is so good to have them back, better than ever!

After releasing the impressive "The Dark Third", Pure Reason Revolution went into something of a tailspin with the release of the lackluster Amor Vincit Omnia, and the disastrous Hammer and Anvil, which led to the band's split in 2011.

However, they made a triumphant return to the stages at the Midsummer Prog Festival in 2019, with an incredible performance that I had the luck to attend to, which would later materialize in the publication of this "Eupnea" which undoubtedly consists of one of the strongest comebacks in recent years.

Basing its sound once again on the psychedelic rhythms and atmospheres of its first album, but without forgetting the more insistent guitars and electronic influences of its other two albums, "Eupnea" is a very solid, fun release that certainly leaves you craving for more.

I hope that the "Above Cirrus", set to be released next May, follows this good path and offers us another great work by this talented musicians! Although listening to New Kind of Evil, the first advance of this new work, things look really really good.

Best Tracks: the three long ones (Silent Genesis, Ghosts and Typhoons and Eupnea), are the best, although the shorter ones are also remarkable.

My Rating: ****

A pleasant, eclectic, beautifully written and exquisitely performed album that is above all an intense emotional ride from start to finish, this is Pure Reason Revolution's fourth studio release, the pretty excellent and always impressive 'Eupnea', with its elegant and slightly surrealistic cover art. Released in 2020, after some ten years of silence, this very peculiar prog band (it is quite hard to define what category they fit into best but prog seems to be a very good way to describe all the movements in this album) releases out of nowhere one of the most impressive albums of the last couple of years, on Inside Out Music - and I dare to say that this band is one of the most valuable signings on the label at all.

Comprised of the duo of Jon Courtney and Chloe Alper, Pure Reason Revolution have gone through some various phases and therefore, different musical approaches, despite the small number of albums to their name (to be precise, three, excluding this one) - presenting a Floydian sound that has a bit of a Porcupine Tree-ish edge on their debut, following up this one with a record that introduced a more pop sensibility, and finally arriving at what is generally considered a disappointment but is a part of their catalogue, the electronic and almost synth-pop rock inclinations of 'Hammer and Anvil'. Then there is 2020's 'Eupnea' that seems to combine all of these aforementioned aspects in PRR's musical pedigree, twists them around and presents them in the most beautiful manner possible, with such nuancing, depth, and mystery, that the listener is left craving more, somehow compelled by the darkness of the record but also enthralled by the magical subtlety and the gorgeous sounds. Not to mention that stunning vocal performances by both Jon Courtney and Chloe Alper, experienced best in the parts where both of them sing in harmony.

Sensual, eclectic, futuristic, gloomy, passionate, both gentle and heavy on several occasions, one could easily see that this album kind of has it all. The magic, I believe, is mostly experienced on the longer tracks - these are, of course, the 10-minute 'Silent Genesis', a slowly unfolding explosion of sounds that will leave every prog afficionado's ears in a state of milky orgasm, 'Ghosts & Typhoons', a heavier composition, another very intricate and well performed piece, full of various twists and turns along the way; Perhaps it is the vocals that impress the most on this track; and finally, the 13-minute title track, another intense ride through the world of Pure Reason Revolution. The shorter tracks are no less excellent, we have to mention, as the album opener 'New Obsession' sets a fantastic tone for the whole album, 'Maelstrom' is a great, almost sing-along, prog-pop number, one of the best and most enjoyable ones I have heard in recent years, and 'Beyond Our Bodies' is a sweet little song that provides a softer experiencing in the heavier atmosphere set by the preceding song 'Ghosts & Typhoons'. Simply, this album has to be heard in its entirety, in order for it to make sense and for the listener to experience the full beauty of the subtlety and the gorgeous songwriting.

Lovely work, an excellent addition to any prog fan's collection, and not only! This is one of these records that could easily attract people into the genre, because while it is very subtle and eclectic, it is also a pretty accessible one for progressive rock's standards, it has a poppier edge and that is fantastic, as one would hardly ever regret spending time with it. In a word, 'Eupnea' is excellent!

It was only my respect for the band's debut "The Dark Third" that moved me to finally check this one out. Released in 2020 many claimed it was finally a return to the level of the debut and in fact on the site here "Eupnea" is rated higher which I find almost shocking. Maybe it was being part if the buzz that was happening after "The Dark Third" came out and finally picking it up and acknowledging that it was something special, something different. Familiar with the FLOYD vibe but those harmonies. I mean a six piece band with all adding vocals. Almost to a fault.

It all sort of went downhill from there until as a duo Chloe and Jon record "Eupnea" with a guest drummer, so really a trio. A far cry. And this isn't "The Dark Third" part two by any means, this is nothing like it. Yes lots of vocals and as a piece of work this is very well done it's just not music I'm really into, I don't want to listen to this. The cover art is terrible. Taken from a painting I just don't get it.

So we get about 48 minutes of music over six tracks with the self titled closer being the epic at 13 1/2 minutes. And it is interesting that the vocals on it brought "The Dark Third" to mind briefly a couple of times. The opening vocals melodies don't though even if it is a focus on that harmony-like style this is just different. It's Chloe singing later that brought the debut to mind. A very proggy track regardless and one of the best ones. I really have a hard time with "Maelstrom" just too lightweight and sweet at times.

And that's what I find myself thinking with each track there's stuff I like and things I don't and overall each track is okay. I do like the heaviness they bring as well but for some reason I'm digging the vocals this time. Not a four star record in my world but I will continue to enjoy "The Dark Third" so thanks for that amazing debut.