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Evership biography
Founded in Nashville, USA in 2013

EVERSHIP have been founded by a composer, multi-instrumentalist and producer / engineer Shane ATKINSON. Shane played in Nashville bands and as a backup musician for artists in the late 80's and 90's. As a composer he wrote on Music Row and, always having a studio running somewhere in the Nashville area, was a composer with musical work spanning from commercials and film to orchestral and theater. He made two records with the 90's alternative rock band CURIOUS FOOLS, but after three labels, including false promises from a large internationally-known label that eventually dropped the band, and with the birth of his first child, he decided to leave the music business for the budding software industry.

Photo by Joel Barrios

Shane says he never really stopped writing. "The music just kept coming, haunting me. I'd constantly wake up in the night to record song ideas. Over those years I amassed at least a hundred hours of material. But I was so successful in software, it became nearly impossible to get out. Something like EVERSHIP was bound to happen, it had to happen, I was profoundly depressed."

Finally, in 2005, in response to a dream, he sold their big house in the suburbs, downsized, built a recording studio, and opened a commercial and film music production company to finance the album effort. It would take about ten years to make the record; not just for the actual recording, but for raising a family, building a studio, holding down the production company and remaining business interests, and sifting through the mountain of song material.

Many of the EVERSHIP songs were already written long before the project started. Some were five to ten years old even then, and there is purportedly enough material for four or more albums. "I've got other material, but I wanted to do this first. Musically-speaking, prog is where my heart is." He said while growing up, listening to bands like Led Zeppelin, Rush, Yes, Queen, Kansas and Jimmy Hotz, he had no idea it was progressive music. He just liked it. Amongst his other influences were classical composers, particularly Bach, Rachmaninov and Ravel. He has a sizable Opera collection and is a Puccini fan. Fusion music also played a role in the early years; Chick Corea, Al Di Miola, Mahavishnu Orchestra, anything that challenged him musically. "Even what I'm writing now is not intentionally Prog. It's just what comes out. These songs are life-storie...
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EVERSHIP top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.01 | 197 ratings
3.91 | 171 ratings
Evership II
3.70 | 79 ratings
The Uncrowned King - Act 1
0.00 | 0 ratings
The Uncrowned King - Act 2

EVERSHIP Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

EVERSHIP Videos (DVD, Blu-ray, VHS etc)

EVERSHIP Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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Showing last 10 reviews only
 Evership by EVERSHIP album cover Studio Album, 2016
4.01 | 197 ratings

Evership Neo-Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 478

The American Nashville based progressive rock band Evership is the brainchild of the songwriter, multi- instrumentalist and producer Shane Atkinson. Many of Evership's songs were written long before the project began. Some were between five and ten years old. So, the band had already enough material for four or more albums. After choosing the material for the debut album of Evership in 2009, life circumstances halted production until 2013, when Shane closed the music production company to focus on the release and production of the album. At that time Shane met Beau West, the lead vocalist. On the album Shane plays drums, keyboards, and a variety of other unusual instruments. Most of the electric, acoustic and classical guitars were played by the classically trained guitarist Rob Higginbotham. Shane's brother, James, played almost all the acoustic and lead guitars. Finally, the bassist Jaymi Millard completed the tracks.

So, "Evership" is the eponymous debut studio album of Evership and was released in 2016. The line up on the album is Beau West (lead vocals) and Shane Atkinson (vocals, keyboards, drums, percussion, Theremin, chapman stick, dulcimer, experimental guitar, sound design and orchestrations). The album had also the participation of many other musicians, Mike Priebe (backing vocals), James Atkinson (acoustic and lead guitars), Rob Higginbotham (classical, acoustic and electric rhytm guitars), Dan Smalley (classical guitar), Brandon Vestal (electric guitar), Jaymi Millard (bass), Nicelle Priebe (violin) and choir director Charles Heimermann and the singers of the Nashville Symphony Choir.

"Evership" consists out of five long tracks, each around ten minutes long and a concluding section of two minutes. It's a 70's inspired American prog album. Still, throughout this album, it never sounds like Evership are trying to emulate the great bands from the past. Instead they sound exactly like they are one of those great bands from the past. Kansas being the most obvious touching point, but Styx also enters the equation, as do early Queen, and to give an indication of just how strong the vocal and guitar melodies and many of the harmonies are, so do Boston. The performances are engaging, constantly drawing you into its enigmatic tracks. The music is brilliantly conceived and perfectly executed, unpredictable and engaging with its symphonic melodies with soaring vocals and complex energetic instrumental displays. The arrangements, the spiralling keyboards, driving guitars and buoyant bass lines are solely the instruments to convey the fragile beauty of the harmonies wrapped into the lyrics sang by West, who nails the vocal parts with a fantastic delivery. The juxtaposition of many synths leads and the choruses on it accentuates its magnificent sound.

Thus, about the six tracks, "Silver Light" sets the things up well with its sweeping keyboards and a fine solo guitar line before the vocals from West are introduced. With its excellent dynamics and the good use of the keyboards throughout, this is a great opening track. "A Slow Descent Into Reality" is divided into six parts, "Everyman", "A Slow Descent", "Wisdom Of The Ages", "Honest With Me", "The Battle Within" and "Anyman". This is a strong piece with echoes and stylings of Kansas in the era of the classic "Point Of Know Return", especially in the keyboard and guitar passages. West does a great job here. With its multi-layered harmonies, this is a very impressive piece. "Evermore" is divided into two parts, "Eros" and "Agape". It's a very well crafted love song, opening with more fine guitar lines before the delicate vocal emerges, accompanied by a piano melody. It has a gentle and heartfelt vocal. This is a very emotive song with some great harmonies, another strong piece on the album. "Ultima Thule" follows with a fine acoustic guitar and piano segment adding to West's voice. This piece develops into a beautiful ballad like song with great vocal melodies. I also love the keyboard parts and the choir in the end. "Flying Machine" is divided into three parts, "Dreamcarriers", "Dream Sequence" and "Lift". It's another epic with a fine vocal and some very interesting sounds in the background, adding emphasis and tone to a great track. Lovely piano and keyboards throughout and a gentle acoustic guitar add more Kansas touches, the song moving into a heavier section with a strong guitar rhythm and more keyboards supporting the vocals. "Approach" is a short closing to the album with a low rumbling noise, a curious ending for this great album.

Conclusion: "Evership" is a magnificent album full of great melodies and beautiful vocal lines. The sound has some AOR influences but with the violin I had to think strongly of Kansas really, which isn't a strange thing. Also the names of Queen, Boston and Styx crossed my mind, which isn't a strange thing too. But, it's much more than that. The music sounds fresh and uplifting to my ears. The style is bombastic in places yet moody and quiet in others. The singer Beau West impressed me with his vocal qualities. West has a great voice for this style of music and turns in some wonderful performances. The use of the choir on some of the pieces is very nice too. This is an album with no weak points. If you enjoy well crafted intelligent prog rock with a touch of romantic classical music, this album could be the right up to you.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Uncrowned King - Act 1 by EVERSHIP album cover Studio Album, 2021
3.70 | 79 ratings

The Uncrowned King - Act 1
Evership Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars 1. "The Pilgrimage" (10:38) Yes! (imitators) Then Genesis (with Jean Pageau-like vocal)! Some of the nicest synth strings in the final section I've ever heard! (16.75/20): - i. "Desert of Facts" - ii. "The Temple of Truth" - iii. "The Quiet Room"

2. "The Voice of the Waves" (3:08) The Waiting Room? and then, what? (8/10)

3. (a) "Crownshine" / (b) "Allthetime" (10:50) too much cliché bombast. Sounds like Head East, Styx, Starcastle, Kansas, Uriah Heep, and Camel. (16/20)

4. "The Tower" (9:47) Just bad--vocals very pitchy and lyrically ridiculous. (15.5/20)

5. "The Voice of the Evening Wind" (4:23) bar far the best song on the album. Gorgeous! Especially the gift that is the gorgeous voice of Poem Atkinson. (9.5/10)

6. (a) "Yettocome" / (b) "Itmightbe" (16:42) I swear in Beau West I'm hearing a clone Jean Pageau! The music is competent but totally prog by-the-numbers. (24/30)

7. "Wait" (5:12) a very upbeat, bouncy, polished pop song in the vein of Sweden's Moon Safari. Nice. Maybe this is more of the direction Shane should take this band in. The Jean Pageau reminders continue but the musica accompanying Beau is nowhere as rich and mature as that of Jean's MYSTERY compatriot, guitarist extraordinaire Michel St-Père. (8.25/10)

Total Time 60:40

C/three stars; a nice addition of pretty Neo Prog-by-the-numbers for any prog lover.

 The Uncrowned King - Act 1 by EVERSHIP album cover Studio Album, 2021
3.70 | 79 ratings

The Uncrowned King - Act 1
Evership Neo-Prog

Review by TenYearsAfter

3 stars To me this album sounds like a tribute to the heyday of 'progressive melodic rock bands', the socalled AOR, in the Seventies and Eighties. Like Kansas featuring vintage keyboards (Hammond, Minimoog and Mellotron) and acoustic guitars in the dynamic The Pilgrimage. Like Styx with the distinctive cheerful Minimoog flights and fiery guitar in The Tower. And like Journey with Steve Perry inspired vocals and a typical AOR ballad atmosphere in the epic Yettocome ? Itmightbe. The music is very melodic and harmonic with flowing shifting moods, topped with pleasant work on keyboards and guitar, strong vocals and a dynamic rhythm-section.

But Evership has more to offer. The short tracks The Voice Of The Waves and The Voice Of The Evening Wind contain ambient electronic musical landscapes, pretty atmospheric with spacey keyboards. And the final song Wait is a fine ballad featuring a catchy riff on piano, mellow vocals and halfway moving guitar work.

The most alternating and elaborate composition is Crownshine - Allthetime (close to 11 minutes). It starts in a bombastic climate with fat Minimoog runs and propulsive rock guitar riffs. Then lots of changing atmospheres, between mellow and sumptuous, embellished with Minimoog flights, phaser guitar, fiery guitar leads, Mellotron choir, The Charles Heimermann choir, and powerful vocals.

Evership its music is beyond original but it sounds very pleasant, especially if you like Seventies and Eighties Kansas, Styx and Journey.

My rating: 3,5 star

 The Uncrowned King - Act 1 by EVERSHIP album cover Studio Album, 2021
3.70 | 79 ratings

The Uncrowned King - Act 1
Evership Neo-Prog

Review by Squonk19

5 stars American progressive rock band, EVERSHIP plunge us back into the pomp/prog-rock era of the 70s with their third album and a concept one at that - the first half of an allegoric journey in search of truth, full of symphonic rock anthems, instrumental flourishes, quality vocals and melodic passages to please any fans of classic retro-prog.

Whisper it quietly, but if you are a prog rock aficionado of a certain age - even if you love both the vibrancy of the modern breed of prog or the comfort of dipping back into the classic era of the Big Six, you might well have had a soft spot for that mid/late-70s era of US bands such as Kansas, Styx, Starcastle and Boston. A time when Leftoverture and The Grand Illusion nestled next to Seconds Out, Going for the One and Moonmadness in your teenage record collection. When you never heard the question 'Is it Prog?' but you knew instinctively what 'pomp rock' meant and how it differed from 'progressive'. Welcome to the world of EVERSHIP!

Formed in 2013 by the multi-instrumentalist Shane Atkinson and boasting the excellent vocals of Beau West, the band have been able to both capture that 70s zeitgeist and yet produce their own, fresh, signature style of progressive rock, which doffs its cap to the giants of the past and yet looks forwards to the present. Their first two albums: Evership (2016) and Evership II (2018), were well-received, especially in the USA.

2021 sees the release of their third album: THE UNCROWNED KING ? ACT 1. It is an ambitious concept work based on the 1910 book of the same name by the American author, Harold Bell Wright. The story is an allegory about the pursuit of truth and is part 'The Pilgrim's Progress'; part 'A Christmas Carol' and part 'The Prince and the Pauper'. In many ways it is a work which almost demands a prog concept album, and here Evership have given us the first half of the story and whetted our appetite for Act 2 in due course. Those familiar with Neal Morse's 'The Simplitude of a Dream' and 'The Great Adventure' might find the concept familiar, although any Christian message is much less obvious here.

We follow the journey of a pilgrim in search of truth and wisdom, through the 'Desert of Facts' to the gates of 'The Temple of Truth', where he is told that whilst he has 'fulfilled the law' and 'paid the price' ? to understand the reason for his pilgrimage, he must rest in 'The Quiet Room' and hear the story of 'The Uncrowned King' from a series of four visiting voices and gain a true understanding of his spiritual journey (akin to the ghosts who visited Scrooge one Christmas).

The album covers the first two such voices and we hear of the twin princes: 'Really-Is' and 'Seemsto-Be' from the 'Land of Allthetime' who one day see the beautiful, gleaming city of 'Sometime' in the 'Land of Yettocome' from the high tower and vow to leave their comfortable, easy-going existence to visit it. They find a land of beauty, love and contentment that they are reluctant to leave, but news of the death of their father, King 'What-Soever-Youthink', forces them to make the return journey and claim the Magic Crown? but that's for Act 2 to reveal (I hope you're making notes out there, by the way!)

Well, that's the concept ? but what's the music like? Rather good indeed, it has to be said. You'll find a melting pot of influences, such as Kansas, Styx, Rush, Queen, Yes, Genesis, Boston and Camel amongst others. Yet whilst the result might not be particularly innovative or break any new ground, the resulting synergy is refreshing and undoubtedly Evership.

The opening track, Pilgrimage, starts atmospherically with synthesisers, along with desert winds and haunting Eastern instrumentation before a gradual build-up of keyboard sounds, a piano passage and then full-blown, swirling, retro-prog keyboards, guitars and a driving beat, producing an overture-like explosion of sound. The introductory lines from the book "Eyes blinded by the fog of Things cannot see Truth. Ears deafened by the din of Things cannot hear Truth?" are chanted, Queen-like, before Dream Theater-style ensemble work introduces Beau's clear vocals over delicate acoustic guitar lines and eventually complementary piano themes. The Kansas influence is strong and continues as soothing vocals and classical influences take our pilgrim through to the Quiet Room.

Bird song introduces The Voice of the Waves as ominous, other-worldly effects take us into distorted, melancholic vocals as the tale begins. However, it is very much a transitional track designed to create a musical tension before we are introduced to the real heart of the album: Crownshine/Allthetime. Majestic keyboards fight with powerful guitar riffs and propel the song into Styx-like harmonies and an echo of Rush percussion patterns thrown in for good measure. The track alternates in tempo and style, ebbing and flowing through its melodies with synthesisers highlighting soaring guitar soloing in an indulgent instrumental prog confection. Beau's high-register vocals takes up the story and runs through the complex lyrical content (although you might be worth having the lyrics to read through while you listen to keep up with the narrative).

The Tower starts as a more mainstream classic rock track, with piano-led vocal harmonies leading into a spritely, bass/drum rhythm with guitar chords driving it forward. Uplifting keyboards contrast nicely with the dense lyrics. The pace relaxes nicely before the lead guitar takes flight, only stepping aside as the song glides serenely to its conclusion.

The Voice of the Evening Wind provides the second transitional track, beginning with Rush-like wind chimes and effects that take us into 'Xanadu' territory, prior to some lovely vocals from Poem Atkinson over gentle acoustic guitar shading. More successful than the earlier 'voices' track in providing a musical contrast ? it has a lot of ethereal charm.

The longest track on the album: Yettocome/Itmightbe, has a myriad of twists and turns befitting its length and once again you have lovely, melodic, proggy passages, the intertwining of keyboards, guitar and strong, clear Steve Walsh-style vocals ? acoustic and electric glowing light and ominous shade ? and tempo changes as the princes ponder their thoughts and feelings in the new city that surrounds them. "But is there some principles I'm to embrace, some mode of accomplishment or sacrifice? Some kind of cause that I undertake, to travel to another nation. Or is it nothing and there's just no? God, I need a revelation!" Lots of diversity here. A peaceful piano interlude here; a classical guitar motif there. A stratospheric guitar solo one minute; keyboard pyrotechnics the next. It is another album highlight which the listener can sink into and let it warmly flow over them.

The messenger's abrupt cry of "The King is dead" heralds the start of The Wait, and a dancing piano theme accompanies the regret of Prince 'Really-Is' at not having time for further shared thoughts and discussions. Some excellent guitar playing adds great poignancy to this final and accessible track, but clearly signals that the story will continue into Act 2. Unfortunately, we are just going to have to wait!

This is a powerful slab of retro-progressive symphonic rock ? in that 'American prog' style - that will delight fans of that genre. The quality of the vocals and musicianship is high indeed and the conceptual themes work surprisingly well, despite the complexity of the language and lyrics. Whilst some might see much that is derivative here ? and there is no doubt that Shane wears his influences on his sleeve for all to see ? it has a surprising freshness to it in its entirety and is a warming comfort blanket in these strange days for listeners who like melody and bombast to their prog rock. If you are new to the band, the first two albums might be an easier place to start, but if you like your concept albums, then this latest release will give you much to enjoy.

(From The Progressive Aspect)

 The Uncrowned King - Act 1 by EVERSHIP album cover Studio Album, 2021
3.70 | 79 ratings

The Uncrowned King - Act 1
Evership Neo-Prog

Review by alainPP

5 stars EVERSHIP is the group founded in 2013 in the USA, led by Shane ATKINSON composer and multi- instrumentalist who performed on CURIOUS FOOLS. He tries his hand at producing albums to continue to bring to life the exceptional sounds of the 70's in our time by restructuring them, giving them more intensity. This opus is an adaptation of the book by BELL WRIGHT based on the allegory concerning the truth, which one will not touch of fact. He is releasing his 3rd album here after an '' II '' in 2018 referred to as a very good symphonic neo-prog eyeing QUEEN, YES, ROYAL HUNT and RUSH, which is to say that I started with relish.

"The Pilgrimage" futuristic VANGELIS synth intro inviting to travel; the air will seek in the memories of YES, then of STYX with divine symphonic passages; 3 movements for this powerful track; a bit of RUSH, a bit of ROYAL HUNT also by the central metal drums, an explosive rise that sends me back to BOSTON, then the bass of SQUIRE, YES for the voice and the synths, all associated with a melancholic final tune piloted by majestic keyboards; title that passes too quickly, a good indication, flagship title. "The Voice of the Waves" for a bucolic atmosphere and its birdsong responding to bells turning dark, anxiety accentuated by Beau's voice in phrasing on a bed of Mellotron, anguish contemplative interlude starting on "(a) Crownshine / (b) Allthetime »starting hard rhythm, riff that goes with it; a Moog, a crystal clear piano, backing vocals, it becomes melodic then the synths set the mood pulling towards the fabulous BOSTON; alternation, entanglement with the guitar solo, it becomes baroque, not grandiloquent, not symphonic, in short, good retro prog certainly but not boring; divine choirs then return to the voice reminding me of STYX, melody with the instruments of the time when we listened religiously; aerial guitar solo which rips, hard riff à la KANSAS then Mellotron, you will understand it is divine. "The Tower" where the alliance between YES and MAGELLAN all sprinkled with STYX; a little of the madness of the first QUEEN and you have an indication of this timeless jewel; piano, voice, rhythmic Mellotron and melodic guitar to mix it all up; synth solo then a few melodic drawers with the voice and the guitar which does not hesitate to start higher, it accelerates, it goes back down, it starts again on the starting tune and it melts on a soothing soft synth for the final, always magnificent.

"The Voice of the Evening Wind" for the attack of the second part, a dark, mysterious tune, eerie bass in the early THE CURE; the synth goes up in the air and Poem's Yessian voice, ah family, sends far higher than the acoustic notes of the guitar; it's relaxing, meditative, ambient, entertaining and progressive interlude, it pummels you and doesn't let go; the repetitive Mellotron helps with this sensation, final with its helicopter bringing "(a) Yettocome / (b) Itmightbe" intro as one imagines it powerful and colorful, choirs, acoustic moment at the STYX in divine ballad, royal piano, the symphonic is the order of the day, the voice that reminds me of MERCURY, tears arise, the drums-chorus rise finishes me off, the MAY solo too, [&*!#] (in Latin it's not an insult) I almost missed that? No, I'm here to tell you about it! An intimate acoustic break for a while then it sets off again in an overdone angelic melody, the time to let the various keyboards, vintage or not, give back a more elaborate feeling in a crescendo giving way to the guitar solo, there memory of RUSH; pause again and final all uphill with this voice, yes the voice has a lot to do with it, and the heavy guitar solo which stretches beautifully, magical! "Wait" for the final title, basic piano, bucolic ballad peering for the chorus on THE BEATLES, distant voice, title for the rest of the ears and the soul; syrupy title which is more like a "radio- edit" of the days when music was played on the radio, but which does not represent the musical technicality developed in the other titles.

EVERSHIP signed a master stroke with this avant-garde retro-regressive album; mixture of old sounds reshaped to a current and agreed power, bringing in melody, varied neo prog surfing on the dinos of KANSAS, STYX, QUEEN, ROYAL HUNT, ELP, YES see CAMEL. Album recorded on a HARRISON 70's analog console helping in this; magical album which makes regress but which shows that the beautiful synthesized progressive of the old ones is still possible. EVERSHIP, which I only know from its old CD, leaves me skeptical about the sound, instrumental and vocal quality deployed.

 The Uncrowned King - Act 1 by EVERSHIP album cover Studio Album, 2021
3.70 | 79 ratings

The Uncrowned King - Act 1
Evership Neo-Prog

Review by omphaloskepsis

4 stars Stunning symphonic ear candy. The Uncrowned King is the first Act of a two album quest for truth. The music evokes Kansas's Leftoverture/Point of No Return sails alongside Styx Castle Walls. Beau West's soaring lead vocals and mastermind/keyboardist Shane Atkinson are guilty as charged.

Evership albums sound like 1976. That does not bother me. Progressive rock hurtles towards the same paradox that stagnates physics. It was easier to be a great physicist in Einstein's day. Theories could be proved in a high school experiment. Today, a humongous supercollider barely pushes physics further. Likewise, the lion's share of tuneful melodies and riffs were picked over years ago. The low hanging fruit is gone. Prog rock aficionados clamor for algebraic time signatures at warp speed shredding dissonance. That's cool. I like extreme metal, Zeuhl, and RIO/Avant bands. However, I prefer Hammond organs, mellotrons, and mid-tempo symphonic prog.

The Pilgrimage (10:38) An Asian desert eastern atmosphere sets fire to my spine courtesy of Shane's keyboard ensemble. Purple Hades and umber tones draped over a mystical setting. Keyboards and vocals reign supreme. Composer-keyboardist Shane Atkinson plays drums surprisingly well, approaching metal. Hints of a powerful drama reveal delicate silver latticed lyrics. Buckle up, accompany the pilgrim upon his mystic sojourn.

Voice Of The Waves (3:08) The shortest way home is the longest way around. Sink, drown, or swim past the riptide of a tsunami eureka epiphany? From beneath the rushing waves West's voice blends into a waterfall's mist. Basically a transition tune to prime the listener for an ear candy symphony.

(a) Crownshine / (b) Allthetime (10:50)- We meet the meat of the album. From here on out, we're treated to auricle delights. Glissading moogs dart and hover like hummingbirdz. A lead guitar sings a melodic pattern gavotting with West's golden vocals. More memorable hooks than a Hellraiser horror film. Choir passage and mellotrons. The end of the song had me anticipating the final like I was watching an Olympic ice-skater-duo finish an icy dance program. Majestic climax!

The Tower (9:47) piano conjures cappella vocal pyrotechnics, drums and bass thrum along. Lead guitar repeats a simple yet addictive pattern, dusky tones, winding up the tower's stairs. A Dennis DeYoung like Hammond swells and soars. Mellotron takes a breath as the vocals ascend anther story up the tower. Harmonies crescendo as The Tower reaches its epic heights, followed by a Klaatu descending exit.

The Voice Of The Evening Wind (4:23) I'm guessing Evership is a family affair too, since one of the lead guitarists shares Shane's "Atkinson" surname and a youthful androgynous vocal is contributed by "Poem Atkinson". Atmospheric... textured over broad acoustic brush strokes.

a) Yettocome / (b) Itmightbe (16:42) a piano shatters the misty opening. West's wizen vocals journey over a juicy guitar riff. Ooh my, I like that guitar riff. Feels like mescaline kicking in. Vocals fall through meters of velvet rose petals. Pause for ominous acoustic guitar, tension increases incrementally. Will nature betray me? "Am I an actor in a comic play?" At times West vocals evoke Geddy Lee's lower registers. Easily Wests most varied vocal performance. Plenty of diversity here. Thunderstanding truth is dangerous place. Ballad bleeds toward epic structure...chrysanthemum crescendos bloom like September maples aflame, aspens bathed in the sunlight of Shane's synths.

Wait (5:12) would have been a vinyl 45 if The Uncrowned King had been released in 1977. Feels like Camel at their most catchy. Top ten 2021 album. Highly recommended to Styx, Kansas, Queen, and Camel aficionados. Excellent addition to any prog rock collection.

 Evership by EVERSHIP album cover Studio Album, 2016
4.01 | 197 ratings

Evership Neo-Prog

Review by SilverLight59

4 stars Given an album cover not unlike a Salvador Dali painting, what were you expecting? Perhaps some intriguing and fresh perspectives on the musical experience? If so, enter here...

This is a review that I have wanted to get to for quite a while, but never seemed to find time. But this seems like a particularly good time as Evership's third album is due to come out most any time now. Can't hurt to build up a little anticipation for this upcoming event with a little look back.

To be to the point, this was one of the best opening albums to come out in a long time. This has it all: great vocals, thought provoking and enjoyable lyrics, lonely piano, washing and charging synths in abundance, soft and driving guitar sequences, creative drumming, textured bass, and nice rhythm guitar work. Of particular delight is that each song tells a story that builds up and unfolds, and draws the listener in. Being as most of the tracks are in the ten minute range or longer there is a nice development and variety to the musical themes to support the content of the lyrics.

It's almost like each song is a sound track to a mini theatrical production. In retrospect, this seems to make considerable sense as the forthcoming Evership III (for lack of a better name) has been described on the band's media pages as a 'progressive rock opera', a logical and not entirely unexpected extension of their works so far. It will be interesting to see if it will be a singular concept album or multi topical as this first album.

Indeed, one of the attractions of this album is the variety of the first five tracks. The sixth and final track is an atmospheric outro (4/5). Here are my brief impressions of the five...

SilverLight: This my progarchives namesake song for the site, hence part of my angst about not reviewing this album sooner. This is a powerful guitar driven track over a nice wash of synths. It has a very prog eerie essence to it, but not surprising given the theme of the song, presumably the curse of a werewolf, "never mind the teeth, never mind the claw". Quite the tragic tale. (the Blue Oyster Cult boys must be envious that they didn't write this one) (4/5)

A Slow Descent in to Reality: If your expecting another guitar driven track, forget about it. Unlike the first track which is just a singular thematic track, this one is broken into six parts, each examining the human condition, especially as to what is valuable, what is not, and the ultimate purpose of our existence. Heady stuff with varying musical themes ebbing and flowing with the content of the lyrics, all building up to the final realization of what it's all about. Operatic? Yes. Prog? Yes. Makes one eager to see what the new album will hold. (5/5)

Evermore: This piece is in two parts and has received numerous comparisons to Queen by a number of reviewers. I have to concur with this assessment. But for me, it isn't so much that this song is thematically reminiscent of Queen, as much as what could have been if Queen had went more in this direction and were more progressive and less pop oriented. Queen II clearly showed that they had the ability to do it, but it wasn't the path they would take. This track on the other hand takes those elements and expands on them in a wonderful way: there is the comparisons to Freddie's piano, voice, and Brian may's guitar work, all wrapped up in a warm prog blanket. As much as I like this track, it is good that none of the other tracks pick up this flavor at all. Still, Can't help but enjoy this with a smile! (5/5)

So, a little side bar here: in this track, I have to ask if it is just my imagination, or if from 4:12 to about 4:42, is there a not so subtle guitar riff borrowed from the old original show "Lost in Space" opening theme music? I think so, and love it. Clever, imaginative, humorous, and just a bit of fun. Works for me.

Ultima Thule: "listen, a tale of the sea", the opening words of this song tell us a story will be told. Another theatrical production in all it's grandeur! This is a beautiful song about having a proper fear and respect for the sea, the giver of gifts and treasures, but also a keeper of a price and even a taker of lives. Starts slow and mellow and builds up to a energetic synth filled finale. Emotional and splendid! (5/5)

It may be of note that there is a line in this, "I'll cast him on the isle of the broken tree". Given that this ? the isle of the broken tree - is the title of a massive nearly 30 minute epic on the Evership II album, it will be interesting to see if there will be links between the the first two albums with the upcoming Evership III.

Flying Machine: This one is like nothing else on this album, totally different and unexpected. In fact, I would be hard pressed to compare this to anything else out there either. This plays out like an early 1900's period piece given the theme of the lyrics, the birth of air flight. This is an invigorating theme broken down in to three parts that demonstrates the resourcefulness of the human spirit in spite of the nay-sayers that would discourage them and drag them down, and the music, including the part two instrumental section reflects this. A truly unique composition and a real highlight of the song collection here. (5/5)

In conclusion, tracks one and five are very entertaining, and tracks 2-4 are thought provoking and emotive reaching the heart and mind. It's quite a nice combination, one worthy of being revisited frequently. If you are not familiar with this band, they are well worth investigating, and if you are familiar with them this is a great reminder of this band's abilities and its potential, and a great way to get prepared in anticipation of the upcoming Evership III.

Without a doubt, this group are great musicians, and superb story tellers, and purveyors of a fresh perspective of the musical experience. I for one can hardly wait to see what the evolution of this band will prove to be.

 Evership II by EVERSHIP album cover Studio Album, 2018
3.91 | 171 ratings

Evership II
Evership Neo-Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 407

Evership is an American progressive rock band which is based in Nashville, Tennessee. Evership is a created project of the composer and multi-instrumentalist Shane Atkinson. Many of Evership's songs were written long before the project began. Some were between five and ten years old. The band had already enough material for some more albums. After choosing the material for their debut album, Evership ended up to release their eponymous debut studio album in 2016.

In recent years we have seen resurgence of the classic progressive sounds of the 70's, in many acts around the world. Almost all those acts drink their influences in the classic bands of the 70's. Evership started their journey from another angle. For them, it's more the prog of US rock scene that proves their base, Kansas, Styx, Boston and, of course, many British acts, like early Queen. But, what is most interesting in Evership's music is that they don't simply sound like they are trying to recapture the essence of that era, but they somehow manage to sound like they actually are from that era.

After the release of their eponymous debut studio album, the band was invited to perform at the prestigious 2017 Rite Of Spring (RoSFest), the progressive rock festival in Gettysburg, Pennsylvania. But, the beginning of life of Evership wasn't easy. Evership made a very long journey to be able to make their debut album. It took ten years in the making of it. But luckily, the band managed to release the successor of their 2016 album "Evership" in a much shorter time frame. What took ten years for the first album, took only ten months for the second. The album was simply called "Evership II".

So, "Evership II" is the second studio album of Evership and was released in 2018. The line up on the album is Beau West (lead vocals), James Atkinson (lead guitars), John Rose (lead, rhythm, classical and slide guitars), Shane Atkinson (vocals, keyboards, drums and percussion) and Ben Young (bass and Chapman stick).

The majority of Evership's material fits roughly into the time span of between eight to twelve minutes, which seems an appropriate length to develop their stories and musical themes. There are two main reasons that make the band hit their target on "Evership II", which are great performances and razor sharp song writing. The voice of West takes you deep into a kind of Steve Walsh. He's expressive, soaring, fragile, yet bold and capable of whisking you off to other lands at a chorus's notice. Flanked by the keyboards, drums, percussion and occasional vocals of the man who creates the music, on one side, and the fulcrum's brother, James on guitar on the other, the trio make a formidable force and one that is never over exposed. For unlike a lot of "modern" prog, the aim here isn't to dazzle and impress, it's to engage and excite. That means play music, know where the space should be and never overstep the mark into the leniency. A mark that the 70's prog artists seemed be able to live by in a way that many of those who have followed them couldn't.

"Evership II" has five tracks. The first track "The Serious Room", as I mentioned above, was taken from the RosFest prog festival of Gettysburg in 2017. It can be compared to the opener of their debut, "Silver Light". It's somber and moody. West's voice is powerful and expressive, and I particularly love the orchestral swells that compliment the solos as the song finishes out. The second track "Monomyth" is the first highlight on the album. It's a more driving number, a diverse piece of music with melodic lines over epic chords. Musically speaking the track includes both delicate moments and parts that are working towards nice climaxes. The third track "Real Or Imagined" is a great musical journey with an ephemeral acoustic intro, a midsection reminiscent of Rush, and a final section with big and strong melodies and a refrain that will be stuck in your head for weeks. The fourth track "Wanderer" is the introspective path that winds and curves to prepare you for the massive album's closer, "Isle Of The Broken Tree", which is a continuation of the track "Ultima Thule" from their previous debut album. The fifth track "Isle Of The Broken Tree" is the magnum opus of the album. It covers so much musical ground that it goes from rock to blues to prog, somehow managing to keep your attention with hooks and jams, without repeating itself. The build is slow, patient and rewarding, really. The Boston/Kansas hybrid that they create is utterly compelling. This is an excellent track to close this amazing prog work.

Conclusion: Evership have produced another thoroughly entertaining outing. It's epic in scope and showing all the virtuosity at their disposal, without being self-conscious. "Evership II" is one of those albums that just keeps revealing itself with every listen, and is a perfect worthy follow up to their debut. Each time I listen to the album, a new chorus gets stuck in my head, or a new section stands out to me. The two albums together cover such a wide range of musical and emotional ground that they act very well as complimentary albums. Evership is definitely a band to keep your eyes open to them. Evership isn't so well known, but they deserve to be, and this second outing only cement their growing reputation. This band deserves a bigger fan base and more attention for her beautiful music. It's highly recommended.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Evership II by EVERSHIP album cover Studio Album, 2018
3.91 | 171 ratings

Evership II
Evership Neo-Prog

Review by Jeff_the_GlassCaster

5 stars As much as I love the debut album I was a little concerned waiting for this release ? until I heard it?..

One would never guess that this is a sophomore effort ? it does not suffer from the 2nd album curse in the least. I absolutely love this album. It has an urgency that may, in part, be from how much shorter time Shane (Atkinson) had to put this effort together. II, however, has a great deal of continuity to the eponymous first album and a flow that will keep you listening all the way throughout.

Evership II opens with the song Serious Room and what an opening! A fully dramatic song that showcases the talents of this band. Recorded (in part) at RoSfest in 2017, the song begins gently lulling you in with Beau's (West) voice seductively calling. The music soothes you into a dreamy place and then builds in intensity with each line. By mid-song you will find it hard to stay in your chair! Everything about this song is why I love Prog.

Monomyth opens with the rhythm section setting an intensity that sets the stage for the song and our hero's awakening. About 3 min into the song we get the change as the music becomes mellow moving into a new awakening. One almost feels that a full orchestration will happen at any minute as our hero seems to be going through a transformation ? then acoustic guitar ?> "Hope Will Arise" -> the rhythm section awakens us into a battle sequence and conclusion. The more I listen to this song the more I love it.

The next two songs are, perhaps more rock than Prog.

Real or Imagined opens as a lovely acoustic ballad and becomes a straight on rocker ala some of the great 70's bands with some great guitar. Lyrically this one hits a little close to home ? not quite as spot on as Flying Machine from the first album did, but still awfully close.

Wanderer is a sweet, beautiful dreamy song ? just what is needed at this point of the album. Especially for what comes next??..

Isle of the Broken Tree is a continuation of Ultima Thule from the first album. This part of the story finds our hero as he is thrown from his ship as it goes over the edge of the world. What ensues (lyrically) is a wonderful conclusion to the story. What arises (musically) is a fantastic musical composition of arguably epic proportions. After all, this is Prog. For me to continue to pontificate about the virtues of this song would be a true waste of my time and yours, dear reader. It is symphonic (perhaps neo) prog at its finest.

In closing, do yourself a favor. Buy this album in what ever form you enjoy your music. You shall not be disappointed.

 Evership II by EVERSHIP album cover Studio Album, 2018
3.91 | 171 ratings

Evership II
Evership Neo-Prog

Review by Steve Conrad

5 stars Leap of Faith- Majesty, Melody, Magic

Sophomore Slump?

Absolutely not.

Here we have a stunning followup to their eponymous debut release.

Simply titled "II" (I guess roman numerals add gravitas!), this is an album that bears repeated attention.

Less a "band" effort, more of Shane/ Beau

On "II", for better or worse, it comes across very much as a showcase for the deep talents of the mastermind Shane Atkinson, and the expressive, elastic voice of Beau West.

Personally, I have an abiding respect for band efforts, and generally believe these pay unseen dividends due to multiple perspectives and diverse personalities making their contributions to the over-all effort.

At the same time, it's difficult to coordinate three to four or more lives/schedules/ideas/needs, and that's probably why precious few bands stay intact too long.

In this case though, the level of talent, creativity, and expression is simply too profound for that band chemistry to be a significant factor. Plus, there are certainly repeat musicians on this disc, so it's not like these are strangers who parachute in, lay down some tracks, and disappear into the gloom.


Shane was kind enough to supply lyrics to these songs, and if there's a thread, I'd call it "the rather insignificant human confronting a rather enormous universe."

So, not really a concept album. However, one can "read" something of the composer's intent through the album art, lyrics, and of course the music itself.

The Serious Room

The opening track immediately establishes the kind of intense song-focus that for me distinguishes EVERSHIP from many other progressive bands. Vibes and lovely vocals. Melodies that implant themselves. Instrumental majesty, grandeur, and depth, changing at times into something gentler and more intimate.

Lyrically, it depicts a Very Important Person...who proves to be a wistful wannabe.


The tune begins starkly and builds, using some lovely choral touches including some Latin words as a chant. There is grandeur again, and again that ear-catching change-up.

"Monomyth", I learned, is another way to say "The Hero's Journey", and in this one, the "ordinary" person must confront the crisis that calls out for action, and in the process, he/she is transformed.

Real or Imagined

Such a gentle vocal/acoustic guitar passage, then some sweet synth runs leading to wistful and melancholy guitar. Beau provides some amazing vocal acrobatics in this one.

In this case, the lyrics suggested an introvert who finds meaning and purpose from books/ideas/music...and therein lies the conundrum since "real" people need love as well.


More heart-tugging vocal magic after the majestic opening passage, with lyrics presenting the perspective of a child's optimism being challenged by adult struggles, beautifully reflected in the music.

Pièce De Résistance (actual song title "Isle of the Broken Tree")

Here's the show-stopping finale- the 28 minute-and-then-some epic album closer, weaving together the tale of a black- hearted villain forced to confront himself in the most stark manner imaginable...and making the fateful choice of a "Leap of Faith".

I thought of the power of Tal Bachman's vocal work, as well as Procol Harum's live album with Edmonton Symphony Orchestra- with the sweeping loveliness of the music accompanied by the orchestra and choir.

Obviously I have NO sway over Shane and musical friends, but it would be unforgettable and amazing to see and hear this final epic performed with orchestra, choir, and EVERSHIP.

Musically it runs an astonishing range of styles and moods, from bluesy guitar and stark vocal work, to lush, grandiose symphonic power.

My rating: 5 out of 5 Majestic, Melodic, Magical Monuments

Originally posted on my blog,

Thanks to dAmOxT7942 for the artist addition. and to Quinino for the last updates

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