OVERWORLD DREAMS

Geography is the third album by the American neo-progressive band, Overworld Dreams. In a way, the album represents an exciting turn in the group's musical journey. After the releases of "Voyage" and "Gateway," two albums that I consider good but lacked the ability to captivate me lastingly, being more suitable for listening in small doses, the band veered towards a direction that is always quite daring, delivering an album with only two songs, but when their lengths are combined, they reach almost 50 minutes.

Although an album in this mold is not necessarily groundbreaking, with only two epics comprising the entire record, we must assume that they also cannot be seen as common albums; in a way, they challenge established conventions and break with the traditional structures of a standard album, so to speak. Whenever I come across something produced in this manner, above all, I applaud the band for their artistic courage; after all, I see this as a genuine desire to expand and explore musical ideas in a deeper and more comprehensive way.

Despite being credited as a band of six musicians, unfortunately, the sad note is the passing last year of the guitarist, Randy Sandmann. He passed away before being able to hear the album he helped create.

The title track is the first of the two epics. Divided into 8 parts that succeed very well one after the other, it starts off smooth and tranquil, as if the band were laying out a red carpet for their greatest achievement in their career - so far - to walk upon, delivering a sound that becomes increasingly captivating, as if we were embarking on an exciting and contemplative journey towards the unknown.

The piece has a wide variety of tempos, but manages to do so in a natural way, without seeming like the band is trying to force its length in any way, thus avoiding dragging the music without any sense of direction, and thus, building a completely bland and tedious work. When listening to Geography, the listener will encounter a band that gives itself fully and in a carefully guided manner, demonstrating a clear understanding of its direction and purpose.

Male and female vocals intertwine creating an engaging dynamic. The voices of Matt Mauger and Elizabeth Holder were meant to be together, and fate wanted it that way, so they could sing and transport the audience to a world of imagination and deep feelings. The keys create rich and immersive soundscapes that add layers of depth and texture. As for the guitars, there's no room for vanity; each guitar embraces the other in pursuit of a common goal, to create a high-level epic. The solos are exciting and technical, but always serving the music as a whole, rather than seeking individual spotlight. Behind all this, a solid and cohesive rhythm section serves as the glue that holds all these pieces together. The bass and drums work in tandem, providing the foundation upon which the entire sonic structure is built, keeping the rhythm pulsating and engaging when needed.

"Forces of Nature" is the other epic on the album. Once again, the band hits the mark in the creation, development, and progressiveness of the piece. Divided into 3 parts, over its more than 23 minutes, all the musicians display remarkable skill in creating immersive sound textures, where each instrument plays a crucial role in building the musical narrative. It starts subtly with beautiful piano notes and male and female vocals singing together. Then, the electric chords bring a new dimension to the music, adding depth and texture to the sonic landscape.

As it develops, some more sinuous and unpredictable melodies emerge, as if the band wanted to capture the intriguing essence of an unknown nature. In its central part, it is adorned with some melodic vocals that reverberate like a distant echo in the mountains, along with some intense guitar and keyboard melodies, while the rhythm section remains solid. The guitar solo is also very fitting.

The music then enters its third part. It starts serenely, but I found the atmosphere very similar to that found at the beginning of Pink Floyd's "On The Turning Away." Piano notes emerge to give personality to the music, where, combined with Elizabeth's vocals, they create an ethereal atmosphere. As the music gains a more robust body, its arrangements become more complex and expansive. The vocal wall created by Matt and Elizabeth, but then augmented by Ken Walker and Chris Parsons, is sensational. A song that manages to fill the listener's heart with a sense of admiration and reverence for the grandeur of nature.

A record containing only two pieces, one over 26 minutes and the other over 23, might deter listeners seeking immediacy. However, unlike more complex albums that still require multiple listens for their essence to be felt, Geography, with its more accessible and palatable sound, has the ability to deliver everything it has in an engaging manner upon first contact with the listener.

Geography is a remarkably consistent work, with its elements of progressive and symphonic rock merging harmoniously throughout, thus creating a rich and exciting musical experience that celebrates a sonic and poignant tsunami that takes the listener on an exploration of various facets of the forces of nature through music.

'Geography' in the mouth, Matt on vocals, a little choppy, lacking pep, a riff is the good idea, the tune is jerky; station wagons, drawers there will be eight in fact, for a smooth, slightly sluggish variation; Elizabeth helps it's nice but nothing new on the horizon either; the piano break at 8 minutes, on a crystalline arpeggio then Steve Howe's guitar for an interesting latent moment, between solemn and contemplative and the most progressive part; already half way and Matt comes back, well it sounds like a Barclay James Harvest, the bass on a King Crimson from 'Discipline'; Yes is definitely in the crosshairs at least they stand out from Genesis; the tempos modulate the air between fluid melodic guitar and velvety keyboards, moving towards more tortured drifts, which positively enhances the second part; 19 minutes and finally the long-awaited explosion, well it subsides and the air becomes bucolic, on Genesis I also said to myself; South American guitar arpeggio which brightens up: let's summarize an emphatic, soft, dreamy piece with a taste of something already heard unfortunately and lacking energy, too melodic.

'Forces of Nature' with 3 drawers; solemn piano intro with vocals, choirs, 5 minutes it goes up a notch with arrangements on keyboards interspersed with Elizabeth's soft voice for dynamic rock; folk-symphonic break with a heavy riff, which was missing from the first track; 8 minutes and the second very distinct drawer appears, playful, more dynamite which feels good with a very beautiful symphonic crescendo; 14 minutes and a Tangerine Dream- style synth break, pompous, solemn, airy; arrival of Elizabeth for childish vocals and a sound on Genesis with a beautiful flute; around the 20 minute mark a vocal duet emerges, moving, in stereo, accompanied by an all too rare guitar solo quickly engulfed in a keyboard finale for a bucolic, Dantesque, grandiloquent landscape; nice surprise.

Overworld Dreams shows great musical richness with lots of keyboards, melodic tunes and a lack to make it a great album; beautiful but used in this decade of 2020, melodic which is boring for the first title, fortunately the second brings its share of emotion; a nice tribute though to Randy.(3.5)

Google translator ------- So far, the band has impressed me as a 'cover band', some of its covers from the albums Under the Covers I & 2 are works of art filled with great emotions (The Story Of Albert (Genesis cover), Duke's Travels (Genesis cover), Duke's End ( Genesis cover), In The Dead Of Night (UK cover), Man Of Our Times (Genesis cover), Subdivisions (Rush cover). Fortunately, the album ''Geography'' is probably what all fans of good prog rock have been waiting for :) As you can see, the band has great potential and is starting to move in a very good direction :) The 4-star rating is fully deserved.

original text ------- Do tej pory zespół mi imponował jako ''cover band'' jego niektóre covery z płyt Under the Covers I & 2 to dzieła sztuki wypełnione wielkimi emocjami (The Story Of Albert (Genesis cover), Duke's Travels (Genesis cover), Duke's End (Genesis cover), In The Dead Of Night (UK cover), Man Of Our Times (Genesis cover), Subdivisions (Rush cover) ). Na szczęscie album ''Geography'' jest chyba tym, na co czekali wszyscy fani dobrego progrocka :) Zespół jak widać ma wielkie możliwości i zaczyna iść w bardzo dobrym kierunku :) Ocena 4 gwiazdki jest w pełni zasłużona.

I heard about this band's third release from a friend who knew I liked the old style of long, epic-type songs the prog bands of old did regularly. With only two songs, each well over 20 minutes in length, I figured I'd give it a listen.

I'm glad I did! The arrangements and song composition garnered my attention. Warning: give this material two listens back to back. Soak in what is offered.

I'll start with the keyboards. Why? For me, a big part of prog begins and ends with the keyboards. Every serious prog band has a good one. This band is no exception. The main keyboardist, Ken Walker, displays a wide range of skills on both piano and synths. His classically-themed piano fits well with the sometimes chamber style, sometimes orchestra song construction. The string introduction to the third part of Forces of Nature is beautiful and a throwback to the Americana-style of classical composition. Think Grofe or Copeland. Perhaps Mr. Walker was a fan of the great Keith Emerson. In Geography, he flutters between melodic minimalist and complex harmonic structured playing. His lead playing is sprinkled with pretty melodies and some appropriate impressive shredding. The keyboards are worth the price of the album alone.

A few guitarists are credited, and while I'm not sure who is playing what, all the guitars are handled well. The use of harmony between the guitars, coupled the the keys sneaking in to do their part, is highlighted through the album. There is some excellent acoustic work in Geography, so kudos to whoever played the acoustic parts! The lead playing is innovative and precise. No one goes out of control with the leads, as all are pleasing to the ear. It is clear that great care was taken with the guitars.

Sadly, with all the great instrumental playing, the bass takes a back seat. Maybe this is good, as the bass and drums set an excellent foundation for both compositions.

Matt Maugeri and Elizabeth Holder have very different singing styles, but together offer a pleasing contrast in vocal styles presented. The opening of Forces of Nature features an impressive canon-style vocal and piano introduction. I didn't know bands wrote like this anymore. Harmony construction is top notch.

Recommended? Well...yes! Enjoy.

Before anything, deep appreciation to Gabriel of French prog review site Prog Critique for his wonderful review of this new album, that steered me into purchasing it. As per norm, he was spot on in his analysis. Geography was and still is my favourite subject, which explains a lot about my formative tastes as well as character. I had glanced at the previous releases from this New Jersey based band without getting properly seduced and I find myself regretting my indecisions, instantly remedied by getting the debut "Voyage" as well as "Under the Covers III" (a nice list of prog classics). This 2024 album has only 2 tracks and its no EP as we have the title track clocking in just over 26 minutes and "Forces of Nature" timed at just over 23 minutes! The line-up has vocalist/guitarist Matt Maugeri, Elizabeth Holder on vocals and keys, main keyboardist Ken Walker, multi-instrumentalist Chis Parsons (on everything) as well as guitarists Randy Sandmann (who very recently passed away, RIP) and Paul Higginbotham.

I must admit that I needed a few spins before adjusting to their symphonic style and getting into the extended tracks. The title track is a fully developed opus with 8 subsections, and thus classically paced with a "Prelude" and a "Prelude reprise" to finish off! There is no reason to rush into things at all, as the opening notes set the stage for an incredibly varied expedition, introducing the dual guitars, the overtly gushing synths, and an alluring bass undertow aligned with athletic syncopation. Matt and Elizabeth stamp their lungs early on, with impressive skills there as well. Ken introduces ornate elegance with his piano playing, a perfect transition into a mellower mode, where the bass flutters, clanging guitar resonance up front and center in a dreamy vocal sequence from Holder that impresses mightily. The composition evolves into a more accessible zone, where Maugeri seizes the mike with gusto, fluctuating amid a prosperous electric guitar weaving throughout, including a luminous lead solo, seemingly in 'Praise of Dolphins'. Huge choir vocals ensure the continuance of the theme, as the spry synthesizers vie space with the crashing guitar riffs. Then a pastoral feel is infused with both male and female leads on 'Soft Conception', with a delightful acoustic guitar picking session and a laudatory synth line that seems to aim at the stars. The 'Prelude Reprise' sets the landing perfectly on time and at the gate.

The aptly titled "Forces of Nature" is a vast slice of progressive rock in three segments, as the sophisticated piano combines with the trance-inducing repetitive dual voices, shifting effortlessly into a massive symphonic crest where all the keyboards burn brightly, elevating the theme with a rapid-fire Maugeri vocal line on one hand, and a gentle Holder response, a very imaginative and mood-altering effect. The pace keeps the melodic content in constant evolution, raising the dynamics to celestial heights, and unafraid to infuse crystalline church organ snippets, as Maugeri singing rather splendidly within the dramatic arrangement. The rhythmic juggernaut keeps this piece firmly on the rails, flinging in some crisp lead guitar flashes in the process. A solemn orchestral partition searches for new horizons, electronic keys doing their part in reshaping the grandiose pace. As per norm, a piano resumes taking the vanguard, female voice in tow as the sun appears on the horizon, a convincing example of onwards and upwards, as both voices unite in a choir-like fashion, resonating deeply as the synths parp in full blown pomposity. Intense finale.

Really enjoyable release, looking at also reviewing their debut "Voyage" in the near future, as this is a very promising band indeed.

4 landmasses

A third album in five years for OVERWORLD DREAMS, an American band from NEW JERSEY, unfortunately the last for Randy SANDMANN, one of the guitarists, founder and co-leader of the group, who died of a brain tumor a few months ago in October 2023. Obviously this "Geography" is dedicated to him by his "Brothers in Arms" who decided not to replace him and to continue as a quintet.

Only two tracks on this disc but one of twenty-six minutes in eight sub-parts and the other of twenty-three minutes in three sub-parts. The main vocals are provided by Matt MAUGERI who also fiddles with six strings on certain passages, his vocal phrasing is not exceptional but remains correct for me, the great slayer of the subject; he is also very well helped and supported by Elizabeth HOLDER one of the keyboard players of OVERWORLD DREAMS as on "Geography" from the fifth minute. After several listens, this track is less obvious than the second, more tortuous in a way, but it's still Rock In Opposition! You will also tell me about the keyboard joust present around the twentieth minute of "Geography", modeled emphatically and exuberantly as I like them.

For the influences admitted or not, the YES of the great era came to mind for the use of acoustic guitars and twelve strings à la Steve HOWE, the saccharine but nevertheless very symphonic keyboards as Rick WAKEMAN distributed them here and there in a group but also as a solo artist or even KATE BUSH for the almost childish vocals of Elizabeth HOLDER in the first part of the second piece "Forces of Nature".

Logically, given the length of the album's two tracks, you will need maximum concentration to fully appreciate the music of OVERWORLD DREAMS, a combo that did not overly seduce me in its first two works, nor the first "Voyage" in 2018, and even less so the second "Gateway" in 2020, which shows that nothing is ever lost. I took the time to listen to these two previous albums again before embarking on this geography course...you never know...and my opinion remains the same, I perceived a rational qualitative and creative leap between the "Gateway " of 2020 and this "Geography" of 2024.

Incidentally, I also invite the curious to take a look at the three Under The Covers published between 2020 and 2023 (available in full on YT) where OVERWORLD DREAMS has fun by covering GENESIS, Peter GABRIEL, RUSH, STYX, UK, PORCUPINE TREE and I forget a few.

The icing on the cake is of course the remarkable iconography of Belarusian artist Ed UNITSKY who had already worked with OVERWORLD DREAMS on their two previous studio records .

Already a more than credible candidate for a top 5 at the end of the year.

I heard about this band through a podcast by UK Progmeister. I decided to give this a listen. Definitely a good choice. If you like your prog heavy on the keys with heaping doses of ripped and shredded guitar and keyboard leads to go along with well-thought out orchestration, then this band is for you. Even a touch of folk creeps in. Comes complete with male a female vocals. Matt Maugeri sounds a lot like Michael Sadler of Saga, while Elizabeth Holder has a lighter voice reminiscent of folk singers from the 60's and 70's. Shawn Christie makes a guest appearance that must be heard. A few words on some of the tracks: Timelords (two featured versions) includes a near perfect rendition of the original Dr. Who theme and monster guitar solos on both versions, while The Poet rocks hard with a tasty guitar lead and a blazing keyboard solo at the end. The title track, Gateway, is a throwback to the folk-prog sound from late 60's England; think Fairport Convention/Jethro Tull with added punch in the middle. The piece de Resistance is the last track, The Siren That Calmed The Sea, an over 14 minute long composition that to my ears combines French Impressionism with synthesized orchestration and restrained, melodic tasteful piano work. It's like a neo-prog movie soundtrack, and the shifting moods and main motif are beautiful. Added note: unlike most prog, the lyrics on this album stand above the crowd. I have to give their first album a listen soon.

Was told of this album by a friend who heard it on a Polish station so I gave a listen. Interesting music full of rich hamonics (is that the right word), counterpoint, and deep lyrical meaning not found in most prog music. I never heard of the keyboard player before (Ken Walker) but he is excellent. Some tracks are pure prog, other lean to artsy rock, and these is even little ambient pieces to keep things different. Here are some comments on different tracks. Voyage to Castilia has guitar solos that are as good as almost any out there today. I was told Scott McGill was a guest soloist, and he is a great player that hardly anyone knows about outside of his style of music. The keyboard textures set a dreamy mood and pulls you in from the first notes. Childhood Friend is another track that has interesting keyboard lines in the beginning that force you to listen as the songs build to its vocal section. It is beautifully crafted with a wild explosion of chouds near the end before calm sets in and lays the ending. Songs like Child of Dreams and Life Dream have lyrics that make a person just think about their being and future. Vanishing Masses is a very interesting musical piece and the song that follows, Incredible Melting Man, gives the rockers something to like.

Bass playing is not spectacular but solid, drumming the same. The bass player is Chris Parson, and I wonder if he is related to Alan Parsons. The stars here are the guitar soloists and the excellent keyboard work--is there a prog bad without good keyboards? But maybe the songs are the stars too. They are all good. It's a good listen and in my rotation now.

Interesting debut CD for what I understand is an unusual low budget project. Well-crafted songs with equally good lyrics written by Dave Peters and Ken Walker. Guitar master Scott McGill makes a guest appearance on two songs, and the artwork by Ed Unitsky is worth the CD by itself. Walker is an excellent keyboardist and shows off a nice harmonic sense in his playing with well thought out lines. Peters is not listed as a musician, so I assume he just contributes writing. Vocally its uneven, but better than half the CD's I've heard. Voyage to Castilia have some amazing good guitar work. The Puzzle should satisfy those looking for off beat time signatures and rhythms. There's even a touch of ambient, movie soundtrack sounding cuts. Childhood Friend is beautifully crafted with keyboard work that is simply tasteful. While this CD will not take over the prog world, there's not a bad song on the disc, and there is something for almost everyone who likes prog here.