GREAT WIDE NOTHING

Great Wide Nothing - A Shout Into The Void Country: US Year: 2025 Time: 45:45 ****1/2

1. Utopia (5:38) 2. Rules of Engagement (5:39) 3. Chain of Command (4:13) 4. Brain of Fire (5:38) 5. One Thousand Eyes (7:13) 6. Parting of Ways (6:36) 7. You're Not In (4:39) 8. A Shout Into The Void (6:06)

What does "prog punk" sound like? If you ask me, I'd say look no farther than "A Shout Into The Void" or any of Great Wide Nothing's albums.

Great Wide Nothing has been on an upwards trajectory ever since their debut album " The View From Olympus." Mixing the instrumental passages and keyboard focus of prog rock with the DIY aesthetic and straight-to-the-point nature of punk. 2023's "Hymns For Hungry Spirits Vol. II," was an outstanding album so naturally, I was hyped to hear where they would go next.

This Atlanta-based trio of Daniel Graham (bass, vocals), Dylan Porper (keyboards, vocals) and Jeff Matthews (drums, vocals), have given us an album that is packed with energy, emotion and diversity a plenty.

"Utopia"starts off the album and features aggressive vocals, pounding drums, rambunctious synthesizers, and a beautiful piano interlude! May take the listener a few listens to truly appreciate this great song.

Follow up "Rules Of Engagement" features a wonderful chorus, and has single written all over it. Another great song.

Following "Rules Of Engagement" we have "Brain Of Fire" which has an anthemic melody that sticks in your mind for a long time. Third great song in a row.

Next We have "One Thousand Eyes" the longest track of the album. "One Thousand Eyes" is aggressive, very dynamic and shows the musical skills of Great Wide Nothing and should be played at maximum volume.

The energy continuous on "Parting Of Way" which drifts into prog self indulgence, which may be a good or a hindrance depending on your musical tastes. Might make for a future concert favourite?

The next song "Your Not In It" may be the weakest song musically on the album, but lyrically it's the most fierce. "Either everyone is in denial or everybody is [%*!#]ing high."

The closing title track starts as a piano ballad. As its pace increases it continues in a calming reassuringly way, telling us that we all testify that we tried to make this world a better place which is, for me, all to the good. Great Wide Nothing has given us another unique album that stands among the year's best.

Recommended Tracks: Rules of Engagement, Brain of Fire & A Shout Into The Void.

A band that I know/knew only from their 2023 album, Hymns for Hungry Spirits, Vol. II--which I reviewed and which left me with a favorable aftertaste.

1. "Utopia" (5:38) a song that seems to be trying to mixing three or four disparate styles of music: prog metal, Cure-like Goth synths, some ECHOLYN-like NeoProg and BUBBLEMATH-like vocal. The dudes are trying to convey that they're pissed off but it falls short due to the poor sound engineering/mixing of the tracks (and styles) as well as the less-than-convincing emotions trying to be forced into the singing of the "angry" lyrics. (8.6667/10)

2. "Rules of Engagement" (5:39) sounds like a cover of late 1970s SAGA's great classic rock hit, "On the Loose." Okay song version that just feels dated and uninspired in so many ways. (8.5/10)

3. "Chain of Command" (4:13) a song that exhibits some 21st Century creativity! Definitely a step up from the two previous songs, though the chorus is quite lame: sounding like something from a filler song on a Queen or Loverboy album. (8.7/10)

4. "Brain of Fire" (5:38) a mutli-part opening whose three distinct parts are all quite interesting and intriging leads into a satisfying if dated sounding vocal motif. (It sounds likes a cross between MEATLOAF and a second-tier British New Wave band that I'm having trouble pinpointing [probably due to my general and quite intentional avoidance and predominant disdain for that style and era of music). Still, this is a nice song even if it does sound like I'm discovering a song from 1980 that I'd never heard before. (8.875/10)

5. "One Thousand Eyes" (7:13) Nice keyboard work from Dylan Porper over and within the fairly well-developed and well-performed rock motif that fills the majority of the seven minute song. And it's all instrumental! The second half puts on display some very nice bass play--a lot of which is presented as a very long and extended solo. Drummer Jeff Matthews performs admirably beneath, sometimes able to break through to become the instrument that I want to pay attention to. (13.333/15)

6. "Parting of Ways" (6:36) back to ancient sounding constructs, soundscapes, and sonic palettes, here using a hard-driving two-beat and then some really hokey choir-delivered wordless vocals to finish the chorus. Every time I pause and then come back to this song my immediate sense is that I'm listening to something from the early 1980s. Solid performances of some rather straightforward and generic by-the-numbers song construction. (8.75/10)

7. "You're Not In" (4:39) long-held organ chord opens this, holding strong while Daniel Graham's late-1970s/early-1980s vocal enters. The song remains firmly anchored in 1980 despite three different motifs--just too many hooks and signature riffs coming straight out of music from bands like 707, Buggles, Asia, and even Olivia Newton-John(!). More nice synth work from Dylan in the instrumental section. (8.7/10)

8. "A Shout Into the Void" (6:06) a song that feels more defined/inspired by BON JOVI, REM, and even later SIMPLE MINDS. (8.7/10)

Total Time 45:45

I am able to conclude that this is a less-than-professional band of musicians who are not committed to performing, promoting, or polishing their compositions before rendering them onto master tapes. Perhaps they were once an expert 1980(s) cover/tribute band that have recently decided to try to express themselves through their own compositions . . . created through their firmly established filters of 1970s and 1980s music and performed on the instruments that help them cover the 1980s sound palettes. In an effort to, perhaps, get down to more of their authentic core, the band seems to have here left behind some of its more blatant 1980s referents but, unfortunately, they have, thereby, left me stranded in a vacuum of bare-bones representation of one particularly small window of musical history.

C+/3.5 stars; a not unenjoyable romp down memory lane as retro sounds, stylings, and constructs take one back to the year 1980. It is not, however, very proggy; more like Classic Rock and New Wave.

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.

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. Then the beautiful and melodic Brain on Fire. The instrumental One Thousand Eyes displays the full-on Prog credentials of the band with a fantastic dizzying piece. The album keeps building up to the beautiful, powerful, and majestic title track, bringing together the theme of the album. A unique, powerful and excitingly enjoyable album, brilliant from start to finish. Every track is superb and they all work together to create something really special. For me, this is easily the best album of the year so far, and the only album this year I have given a 5 star rating. Best Tracks: Brain On Fire, You're Not In It, One Thousand Eyes, Chain of Command, Rules of Engagement, Parting of Ways, A Shout Into the Void. Rating: 5.0

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 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.

Very interesting proggy rock from this talented Atlanta-based trio.

1. "Blind Eye to a Burning House" (6:55) dynamic and forceful, this song moves along as if this band has a mission on its mind. These musicians can play! Unfortunately, the music and singing are rather milk-toasty: presenting nothing new or exciting (other than their energetic performances). There's a lot here that reminds me of Jem Godfrey's more recent FROST* songs or John MItchell's ARENA. (12.75/15)

2. "The Portal and the Precipice" (3:40) more excellent musicianship presenting some pop-prog that sounds quite similar to Rush-like ART IN AMERICA (singer Daniel Graham's voice styling sounds identical to that of AIA's Chris Flynn). (8.75/10)

3. "Viper" (5:45) now here's something a little different--something that might stick with me longer than the listening of this album. Dynamic music that reminds me of both FROST* and Kevin Moore's CHROMA KEY project. (8.875/10)

4. "Inheritor" (5:23) opens like a song John Hughes would've used in one of his 1980s movie soundtracks. When Daniel Graham's voice enters it suddenly sounds totally like an ICEHOUSE song. It's very melodic and engaging--perhaps the most so of the album. A catchy CURE-like guitar solo in the third minute seals the vibe. A great 1980s pop song that will probably ring nostalgic, and, therefore, popular with a lot of folks due to all the retro-1980s stuff going on in our world right now. Unfortunately, there is no memorable lyrical hook to latch onto--just the guitar solos. (8.875/10)

5. "To Find the Light, Part Two" (19:58) after a three minute intro and another minute of extended development, the song finally finds a form and base for the vocal. The vocalist sings quite clearly and forcefully sounding very much like ICEHOUSE front man Iva Davies. The music is quite pleasant, sticking to nice melody lines, but it is constructed in a rather straightforward manner (using a single key signature, standard time signature, and 1980s ABC or LOVE AND ROCKETS sound palette). The music definitely gets heavier and more proggy if continually very simple and straightforward. The winning effect is its clear vision and consistent drive. (35.75/40)

Total Time 41:41

Drummer Jeff Matthews and keyboard player Dylan Porper have all the chops of greatness and the band is really tight, well synchronized; there just needs to be something new/different in the compositions to help them get outside the "prog-by-numbers" or "prog lite" formulae that I hear (or out of the 1980s). Still, the album has great musicianship and great engineering and production, so I hope the band will continue working, growing, and developing. I, for one, will be one of those following their evolution.

B/four stars; an excellent addition to any prog lover's music collection--especially if you are a lover of the sounds of some of those 1980s Glam Rockers.

GWN forced to listen to it after many solicitations! 1. Blind Eye to a Burning House for boggie heavy rock, quite used, RUSH in the background; there's sound from current bands that haven't stopped digging into yesterday's prog, the distinctive voice makes it impossible to think of FROST* or others; it's almost AOR, it's a fusion of yesterday and today 2. The Portal and the Precipice reminds me of the sound of JETHRO TULL for the voice, old-fashioned in fact and this influences my rendering; it starts with vocal ELP, I hear a few CARS notes in it, so very new-wave from the time, quite complex as it sounds; the organ and the bass are omnipresent 3. Viper with its long piano intro is slow to take off; it's good but it's not innovative enough; ah the vocal and it starts with a shrill sound of KING CRIMSON, hilarious and disconcerting, we don't know what to hang on to; the break is well in place and raises the question of the resemblance, if there was this solo in the last JETHRO TULL it would be divine, for those who follow. Otherwise a hint of RUSH too. 4. Inheritor for the last QUEEN-CARS-CURE yes you didn't know they had composed together? A title stamped es 80 with the fat synth behind; the confusing Robert-style solo; good the RIVERSIDE scratched well affectionately in the divine repertoire of this time which one criticized (not me huh!!) that GWN can do the same; the final solo is worth its weight, half post, half hovering; singular and innovative there. 5. To Find the Light, Part Two ..for effective slap of the year; a long but full title, long but enjoyable with an intro as it should be, ie prog-symphonic-enjoyed, a cheerful yes very pleasant chorus part, imposing solos in the middle with bass and imposing percussion pads as if to start, a break orchestral which never ends, which dares to make prog like the MMEBs did by proposing instrumental drifts, and a final which rises, which rises; the symphonic end which soothes and reminds that there is progression in there. In short, a major piece.

An album divided between 70s atmosphere, then 80s for titles that denote each other and a superb long title, enough to disconcert. For lovers of good music who want something other than the consensual. GWN forced... to admit that it's not bad at all.

Progressive rock must be the musical genre with the most twists and turns since the arrival of the F-35 stealth fighter in aviation! You really never quite know which way things may go, from one album to another, there may be a massive leap forward or backward, only the artist knows for sure. It keeps things certainly interesting. I latched onto US band Great Wide Nothing's sophomore album "Hymns for Hungry Spirits Vol.1 ", which somehow did not manage to seduce me at all, even after a couple of spins. I have no idea why. But after reading a few glowing accounts of the Vol 2 released in 2023, I risked all my marbles that maybe, perhaps and somehow, I will find a resolution , either sheer bliss or same-old same-old . "The envelope please" resonated loudly , after which I blurted out "It's amazing!". 42 minutes of energetic, highly melodic, and pulsating thrills are to be found here. Led by Daniel Graham (gts,b, vocals) and Dylan Proper (keys, gts, vocals) and Jeff Matthews on the human beat machine, this opus may just be a perennial favourite for many years to come as its that impressive. First audition caught my attention, the second had my admiration and finally the third one made me kneel in honour.

The romping opener "Blind Eye to a Burning House" shoves this release into the musical stratosphere with a blinding display of virtuosity from all the players, a vertiginous bass rumble allied to a thumping drum assault, adding sparkling piano flourishes and a lively lead vocal. The sound is somewhat akin to German 70s band Lake and the wicked tune "Key to the Rhyme", but in a more proggy design. That was then and "The time is now", indeed. The brief "The Portal and the Precipice" keeps the foot on the pedal, buoyed by a throbbing Hammond carpet ride, underpinned by a tectonic bass line, and slayed by a tortured, scouring, and lethal synth flurry. Relentless, pounding, and insistent, this is strong stuff. Bam? The bombastic "Viper" opts for a grandiose melody with a resolute piano base, like Supertramp on steroids, until the ingenious and shrouded Greg Lake vocals circa "21st Century Schizoid Man" or ELP's "Knife Edge" kicks you in the mouth, like a coiled snake with the venom at the ready. The piano then takes a more elegant slant to finish off the piece. A glorious trip back into the sunny 80s with the compelling "Inheritor", a clever tune that has a colossal New Order/The Cure guitar shuffle and a sultry vocal that will rekindle images of a heady pubescent youth of years gone by, where breezy tunes were actually quite solid and memorable. The final electric guitar barrage sound like recent Anathema, a really pleasant surprise.

And finally, we get to the masterpiece, the 20 minute mega epic "To Find the Light pt2 " , perhaps one of the finest extended pieces in recent memory, that deserves the price of admission on its own merits. Oddly, Part 1 on the previous album didn't hook me at all, maybe I need to revisit it. It begins innocuously enough with a vaporous Middle Eastern piano motif that gets invigorated by some bruising bass amid choir synths, an ultrasonic drum beat that just propels this monster forward and a slippery synth melody that scours the heavens. The potent mood is then constantly elevated to a higher plane where the slightly nasal vocals tells the tale, the unrelenting chorus sitting divine and confident. This is instantly addictive and pleasing, with enough variations to keep the juices flowing and the ear attentive. That flamboyant Anathema-like bombast guitar shuffle is remarkably effective in overwhelming the senses. Midway through, the atmosphere veers into the dramatic with some excellent stick work from Matthews, as the sensually reptilian bass curls around the volcanic synthesizer slivers with apparent ease. The vivacious piano takes over with a jazzy outlook that is spellbinding especially when we get to then hear a sudden but yanking organ flurry straight out of the classic Brian Auger/Booker T school of Hammond grooving. The sublime vocal returns, now into a delirious anthem that can evoke lighters burning at a concert , singing "we rest a while as we rejoin the human race". A serene outro puts these starving ghosts to bed. As the vampires say: "Bloody amazing!". Yup, 5 famished souls

The variable geometry corresponds to needs and desires depending on the circumstances? But what is the columnist telling us here? Let me explain, I really enjoyed GREAT WIDE NOTHING's first album in the spring of 2019 and not at all the second in November 2020....So what about the third, especially since it is presented as the second half of the album? previous opus? (Just look at the dust jacket). I had in 2019 said that GREAT WIDE NOTHING was a cross between RUSH and EMERSON LAKE and PALMER with strong heepian intonations in the guitar/keyboard duels.

The opening title here "Blind Eye To A Burning House" looks very much like a STATUS QUO boogie woogie, you dance, you tap your feet, more rock than progressive but as drinkable as possible, once in your head, it doesn't comes out more (8/10). The shortest title of the album "The Portal and the Precipice" is also the least pleasant in my opinion, despite the omnipresent and rounded organ of Dylan PORPER who triturates it to the extreme (6/10).

The very rock "Viper" which follows and it is an understatement to say it, is not too much to my taste either, too basic to stand out from the common musical mass, too bad (7/10), it is saved by a chorus and welcome piano notes in its second half, a piece that can nevertheless be listened to. The penultimate track "Inheritor" is much more exciting, more in the spirit of the first album, with Daniel GRAHAM's lively but silky vocals and a six-string gimmick that reminds me of THE CLASH in its first part and THE CURE in its second, easy to memorize like the inaugural title, I like it a lot (9/10), who said that the eighties had left us no legacy?

The best for last with part two of "To Find The Light" (part one being on the previous disc) a pearl worthy of "The View from Olympus" which appeared on the ATLANTA band's 2019 debut album , almost twenty minutes of intense happiness that we do not see pass, the first four minutes are instrumental, Daniel's vocals at their best, he does not force his timbre (which we can reproach him for in the titles 2 and 3 of this disc), the guitars are absolutely lyrical, the rhythmic ad hoc, thanks to Jeff MATTHEWS, and the following instrumental part which begins at 7:50 and extends until 15:25 ( almost eight minutes therefore) is a pure moment of musical bliss (10/10) which ends with a Dantesque finale magnified by the keyboards and choirs of Dylan PORPER, we will have to rethink this track if we have to designate the top pieces of the 'year.