EVERSHIP

About the previous album The Uncrowned King, Act 1 by this USA five piece band I wrote "Evership its music is beyond original but it sounds very pleasant, especially if you like Seventies and Eighties Kansas, Styx and Journey." Well, during my first listening session of this new Evership album I notice that the band sounds more elaborate and less derivative than on The Uncrowned King, Act 1. The way they combine an accessible rock sound with strong vocal lines and inventive arrangements reminds me of Seventies Queen, but also early Saga. The 9 compositions (between 3 and 9 minutes) deliver a lot of variety, dynamics, tension and exciting musical ideas, it strongly appeals to the idea of a rock opera, embellished with tasteful work on guitar and keyboards, and topped with excellent vocals. My highlights.

First delicate classical guitar, then slow Minimoog runs join, blended with 'spacey' vocals in the spooky The Voice Of The Night.

A catchy beat with rock guitar, tight drums beats and powerful vocals, next the mighty Hammond organ and spectacular Minimoog synthesizer flights in the propulsive Missive Pursuits.

The Law Of Ages starts with tender piano, dreamy vocals and melancholical violin, then a sumptuous outburst with howling electric guitar runs, in a very intense atmosphere, and finally tender piano and vocals, violin and warm acoustic guitar, wow!

The Voice Of The New Day is a good example of the band its varied writing skills. First a cheerful climate with rock guitar, brassy synthesizer and powerful vocals (Michael Sadler from Saga), then the music alternates between mellow and bombastic, with a fine folky touch.

Uncrowned emphasizes the idea of a rock opera featuring a slow rhythm and bombastic climate with strong vocals, Hammond, propulsive rock guitar riffs and heavy guitar solo. Halfway tender piano, followed by flashy fat synthesizer solo and powerful drum beats, turning into an exciting sumptuous grand finale, wow.

The final track Pilgrim's Reprise is a strong goodbye. It opens with tender piano and soaring keyboards, then a slow rhythm and bombastic climate, with sensitive electric guitar, strong vocals and a propulsive rhythm-section. Finally a mellow atmosphere with fading synthesizer runs and chorus, simply beautiful.

My absolute highlight on this is album is the long and compelling ballad Nobody. First a dreamy intro with soaring keyboards, then romantic vocals and acoustic rhythm guitar, embellished mellow keyboards. Halfway the music turns into a slow rhythm, gradually the sound becomes more lush and powerful with intense vocals, a moving electric guitar solo and fat synthesizer flights. The final part contains first a mellow climate with tender piano, soaring keyboards, and dreamy vocals and electric guitar, then the mood shifts to more lush with powerful vocals, topped with subtle slide guitar, goose bumps!

What a stunning blend of Heavy Prog, AOR/melodic rock and Art-rock, highly recommended!

Uncharacteristic for me i'm reviewing the second part of a rock opera without ever hearing the first. In fact i've never listened to a single album from the Nashville, TN based EVERSHIP but with the band's second installment of the musical interpretation of the 1910 novella from Harold Bell Wright, i was intrigued enough to explore this band starting with this latest 2022 release titled THE UNCROWNED KING ACT 2.

Brought to us by the multi-instrumentalist and main impetus for the entire band project, Shane Atkinson, he is joined by the outstanding vocalist Beau West on par with some of the greats of the neo-prog world such as IQ's Peter Nicholls or Arena's Rob Sowden. Also on board is the doubly guitar whammy of JameS Atkinson and John Rose along with bassist Ben Young. Atkinson himself handles the keys, drums, percussion and backing vocals.

This ambitious double album set epically narrates the the story of twin princes who forsake the silver spoon lifestyle of their exuberant kingdom to visit a beautiful royal city afar that they fall in love with. The brothers decide to remain and forsake their royal standing but the news of their father, the king's death compels them to leave their newly discovered homestead and return to the kingdom of their origin.

"Act 1" leaves off with the princes receiving the message of their father's death and ACT 2 begins with the second born rushing back in order to reclaim the throne as a solo act without the rightful heir, the first born. This is an interesting premise for a musical journey and it goes without saying that inspiration in progressive rock from fully developed novellas is much more compelling than some cockamamie half-baked tale made up by a band that feels compelled to make a concept album without developing the narrative beyond the basic outline.

Although the lyrical content is sophisticated and poetic in nature, it's the strong musical compositions that win me over the most. This is some extremely competent symphonic prog / neo-prog with diverse musical motifs that range from the atmospheric opener "The Voice Of The Night" to the more energetic tracks like "Coronation." The music suits the storyline quite well as it's densely complex without losing that instantly accessible pop-hook quality of the neo-prog universe. Ultimately it's the musicians who weave a tight mix of musical motifs that offer an excellent album's worth of quality symphonic prog. Equally retro and modern the balance of these two aspects is nicely accomplished.

Sure this is basically a neo-prog album like so many others but for me EVERSHIP perfectly nails the sound which suits the subject matter well. For me to enjoy a neo-prog album the artist at hand simply must have a competent vocalist who can handle a diverse roster of styles and a range that suits the magnanimity of the music. EVERSHIP pulls that off quite well and reminds me a bit of a more folk-infused Kansas at times during the faster rock oriented moments especially in the keyboard department with feisty yet fitting playing. Likewise the ambient parts and atmospheres are perfectly suited to the appropriate moments as well.

Probably a wise thing to make this a two album saga as the modern attention span is weary of overlong albums. This one at about 58 minutes is perfect and although typical neo-prog of the IQ / Arena / Pendragon ilk, EVERSHIP is competent and clever enough to add enough nuances that make this album sound all their own. You better believe i'll be backtracking and exploring the band's other three albums as this one hit me in all the right ways. While taking the neo-prog / symphonic prog paradigm to the next mind-bending reality, EVERSHIP delivers a compelling tale backed up by extremely satisfying musical accompaniments.

EVERSHIP is the group founded in 2013 in the United States, led by Shane ATKINSON composer and multi- instrumentalist who played on CURIOUS FOOLS. He tries his hand at producing albums to continue bringing the exceptional sounds of the 70s to life in our time by restructuring them, giving them more intensity. Known in 2018, they released their 4th album in a symphonic and metallic neo-prog vein on QUEEN, YES, ROYAL HUNT and RUSH; a sequel to the acclaimed 'Uncrowned act 1' last year and the end of the pilgrim's journey on this new conceptual allegorical, come on, let's go.

"The Voice of the Night" begins majestically, religious limit on the continuation of the story; remarkable phrasing voice, symphonic instrumentation, it goes up and continues on "Missie Pursuits" with a resolutely prog metal, energetic tone; STYX in the background or even KANSAS for the voice; riff to JETHRO TULL even that makes revise its scales, the voice rises and begins to shout on a synth solo which lasts, which lasts until the fat, rhythmic guitar solo which puts your ears in the wind with brass at the end. "The Law of Ages" three-key piano arpeggio, castrati choirs, I'm thinking of MERCURY and PAYNE, acoustic guitar, energetic violins all at once; the guitar solo suddenly tears, choirs, grandiloquent air, divine I don't know but art rock yes; the melodic, progressive and beautiful AOR prog track. "Coronation" intro hard to the point that I'm lost with their own sound; metal riff, Beau's sublime voice, title with a consensual verse bringing the dithyrambic oriental keyboard; riff that sends the guitar for a musical fight where one could imagine a burning dance of the thousand and one nights; title that extends on the instrumental here, a bit long all the same, redundant and intense at the same time until the final gong comforting me in this particular atmosphere.

"The Voice of the New Day" with the recognizable and melting voice of SAGA's Michael SADLER of course; medieval sound; sweet and spleen guitar at the same time; air which calms down for a while before the return of his voice in redundant choruses and a finale on the organ, interlude introducing "Nobody" on a majestic organ, coming from limbo; ballad with acoustic guitar, soft 80's BOSTON melody; Beau sings well and shows it by giving warmth to this title where the Hammond accompanies the rise of the title; guitar solo posed, a little slide to reinforce the melancholy spleen aspect. "Fading Away" again on the 'Aqualung' for the riff, the air on QUEEN with the voice, the piano, the crazy grandiloquent air and my girlfriend who moves to tell me; I hope she won't charge me royalties; beatlesian air for me; solo guitar which tears, skinning then a very greasy keyboard to mix this all; good QUEEN is well marked on a memorable and moving title, some will say STYX, choose. "Uncrowned" continues the QUEEN influence with backing vocals, vocals and rhythmicity; title that flows with length here, maybe listening and understanding the lyrics can make it go faster. "Pilgrim's Reprise" for the finale, an epic instrumental in the intro with off-tones, warm; Beau shows his voice and delivers the final line to the storyline; final where the keyboards in the distance let the choirs fade gently.

EVERSHIP released their metal-progressive symphonic suite; twisted, complex and melancholic sound, sound that makes you cry with joy and introduces you to the American progressive landscape; sound that shows Shane doing well in crafting prog-rock opera from Harold WRIGHT's book, Allegory About Nature and Truth. Sound borrowing QUEEN, GENESIS, YES or KANSAS and STYX; symphonic album with heavy-progressive escapades from which pearl the feeling of emotion, devotion and plenitude; high-end melting-pot album which, while remaining excellent, repeats itself.

Is Evership getting better and better? "I think so, I think so''.

This is part two of The Uncrowned King, Acts 1 and 2, and a great follow up it is. While it is harmonious and consistent extension of Act 1, Act 2 expands the musical direction in a more powerful rock oriented direction than its predecessor. The whole project by their own description is a rock 'opera', and Act 1 was definitely oriented to the melodic, lyrical, symphonic end of the spectrum; However, Act 2, while keeping these melodic and lyrical sensibilities, definitely seems to take a shift towards Neo or Crossover progressive as many of the compositions have a tighter, less meandering structure, and a stronger more forward rock guitar styling, and more choruses and lyrical hooks. That being said, the arrangements still have plenty of variety within them, and although much of it is guitar forward, there are still plenty of synths to be enjoyed. In their previous efforts, much of Evership's songs have had a quite a bit of 'complexity', but some of these more powerful orientated songs in this set seem a bit more readily streamlined and accessible, but effective and enjoyable never the less. While a bit of a new direction for them, it is probably a logical progression as artists, and appropriate relative to the concept of the 'opera' as it builds to its conclusion. So, here are my impressions of the songs in Act 2...

The Voice of the Night: A short intro piece that sets the opening tone, quiet dark eerie start, soft acoustic guitar, followed by almost supernatural synth, and then a haunting vocal that all builds up and then fades into the following track. In its context we need to keep in mind that this not just the beginning of Act 2 but it is also the follow up to the last track of Act 1, which is definitely the most, if not the only, 'pop prog' song Evership has done in all their albums, so it's quite a contrast and mood change if one is listening to Acts 1 & 2 back to back. (8/10)

Missive Pursuits: This is the first of three tracks that come out guns blazing, with a big stand alone guitar riff to start the song. Propelling drum work helps power this one along with a running build up of synths. This is powerful song with the vocals over the top, energetic from beginning to end. While the previous song had a certain density with the instruments interwoven and blended, this one feels just the opposite, very stripped down, with each instrument sounding clearly defined and separated, racing side by side to the finish line. (9/10)

The Law of Ages: After the previous energetic ride, the pace drops into full ballad mode starting with lovely piano and beautiful vocals. After two minutes a pensive violin joins in creating an 'Eleanor Rigby' like feel, and then around 3:20 the violin comes more to the forefront, adding to the feeling of melancholy, and then a big guitar solo cuts across the bow changing the mood creating a dramatic instrumental bridge leading to the concluding lyrics of the song. A very nice ballad, but the best one is yet to come! (9/10)

Coronation: The second of the three tracks that bounces out of the gate with a compelling lead guitar riff, that plays in and out of the track powerfully throughout, always with equally forceful synths wrapped around it and competing against it. Interestingly, this track has flashes of eastern rhythms and flavor surfacing here and there, but never fully goes in to that territory. Once again, strong vocals over the top, with memorable lyrical choruses, one of them being "things are good enough". Yes, indeed they are. This one is big and brash, definitely a rocker, but with enough prog sensibility to keep it a compelling listen. (9/10)

The Voice of the New Day: Appropriately enough, this starts with morning sounds, birds and such, and then springs into a bold vocal over up-tempo regal sounding music, a proclamation of better things! Quite a contrast to the foreboding of the opening track 'The Voice of the Night'. Of note, the center portion of the song has a very pleasant folk feel that is quite enjoyable. (9/10)

Nobody: For me, this the crown jewel, the centerpiece of this whole work. I have to confess I am a big fanboy for ballads, especially those that build up into power ballads, and this one is just an outstanding beauty. This song alone is worth the price of admission for the whole album. In fact, I would easily nominate it for ballad of the year if there was such a category, and probably rank it in my top five songs for the year altogether. The vocals start in a heart rending style and gradually build up to a powerful tour de force of emotion, and finally taper off again. The chorus in part, "And I'm becoming a nobody. Is that what you want for me? I think so, I think so." is memorable and emotionally captivating. This track is a key piece in the development of the 'opera' story line of Act 2, yet certainly works as a stand alone song. The musical accompaniment is beautiful, starting with acoustic guitar, builds up with drums and soft synths, and intensifies as it develops into restrained and then more dramatic electric guitar soloing with accompanying synths, and then in conclusion drops off to a softer but decisive close. It's interesting that on first listen this song created an immediate connection, and upon repeated listens it occurred to me that there was a certain tonal familiarity in parts of it although I couldn't put my finger on it, and then it jumped out at me. Notably, focus in on the musical textures starting at 2:12 and 5:42 and see if it doesn't conjure up milli-flashes of deja vu of the Rain Song from Led Zeppelin. Whether you agree or not, in any event, this song should become an Evership classic, and hopefully garner this band the appropriate accolades. (11/10, yep - 11)

Fading Away: The third and final track that starts with an upfront guitar riff. I can't quite explain why, and I can't quite shake this impression, but once the vocal begins it almost sounds like something in the wheelhouse of 10CC, this a bit more rock oriented and progressive of course. And yet, still operatic as this is a more vocally driven track. (8/10)

Uncrowned: Starts with positive themed a capella vocals reprising the 'new day' theme, then powerful guitar quickly chiming in, then changes course to nice play of wash board riffing, high key piano notes. The story theme is reaching its finale, with grand lyrical and vocal build up. Enjoyable synth ending to lift the track just a notch higher. Another feel good experience similar to 'the voice of the New day". (8.5/10)

Pilgrim's Response: Being mindful that this final track is not just the conclusion of Act 2, but the conclusion of the overall arc of Acts 1 and 2, it is well done. Not overly bombastic, in fact, rather restrained actually, but lyrically the traveler's questions have been answered, and it closes out the 'opera' in a fulfilling way. Musically it starts with a soft instrumental build up starting with pensive piano and minimalist synth underlay, and about a third of the way through it reprises themes from the opening track of Act 1 where all the traveler's questions are being asked, neatly tying everything together. Bravo! (9/10)

In conclusion, another very strong showing by Evership. One can certainly enjoy Act 2 alone, but if you have the time it makes sense to enjoy Act 1 also and take in the full 'prog opera'. Truly well done, as Act 2 draws on themes musically and lyrically from Act 1, but evolves refreshingly so it does not become a repetitive clone of the first half. While Act 2 comes off as a bit more rock oriented and edgy than Act 1, it never loses sight of its symphonic and art rock sensibilities. All the goodies are here, emotionally stirring guitar work, big bass chops, first rate drumming, and all the synths you can want, and a few other instruments for good measure. While musically, there may be some flashes of drawing on past works of others, their sound is unique and stands alone. I rather enjoy spotting who may have influenced them to some small degree as I have shared! Undoubtedly, there are more to be found.

It would be remiss not to point out that Mr. West's vocals are superlative throughout. Undoubtedly, he is one of the best vocalists in the business! And, just a thought on the lyrics too. Clearly, there is a story line here, but that being said, the lyrics are composed in an enigmatic styling that allows the listener to some degree to shape and take away their own interpretations of the meanings. Being able to compose this way is a big talent, and the reward for the listener is that they can potentially take away something different each time they give the album a spin. I am pretty sure, if you listen you will do so more than once, and you will see for yourself. If you haven't explored Evership's discography before now, this is a great place to start. For me, this is a very strong four star effort, highly recommended!

"The Crown Is Not the Kingdom"

"Nor is One King because He Wears a Crown"

EVERSHIP here presents the last of the two-part rock 'opera', "The Uncrowned King- Act 2", based on an allegorical short novella written by early-twentieth century author Harold Bell Wright. Act 1 was released in mid-2021; Act 2 concludes this pilgrim's journey.

It's a lovely and grand and dramatic two-part conceptual work, that reveals the deep workings of Shane Atkinson's considerable compositional and musicianly skills. And alongside these, the masterly and eloquent vocal work of his musical companion- who possesses one of the finest voices in progressive rock, it seems to me- Beau West.

These two form the heart of EVERSHIP, which in Act 2 also draws in most of the same EVERSHIP nucleus as Act 1. As often seems to happen with EVERSHIP, other musicians and vocalists round out the project, including Michael Sadler (SAGA) wielding his strong vocals on one track, "The Voice of the New Day".

The Recovering Pastor

Harold Bell Wright, son of an alcoholic father and long-suffering mother, quite without a plan, felt called into ministry, and in the process also began to follow another passion of writing. It is this passion that Shane has developed into the present release by interpreting the novella of the same name, lyrically and musically. The "recovering pastor" realized his writing passion made more money- and perhaps more sense- than his ministry.

Here too, I thought, Shane used the ideas within this novella to ignite his- and our- passion as well, by challenging us with ideas set within what I found to be a rich musical tapestry, within the art- and symphonic progressive rock EVERSHIP has done so well over the years- filled with drama, intensity, wistfulness, grandness, and pathos.

The Pilgrim

Of course, one who seeks to know, to understand, to absorb truth and beauty and reality, must often endure suffering, hardships, and obstacles, along with the awe and loveliness that can be realized in the quest. And there are voices one hears, some speaking with wisdom and others with malice. In Act 2 we hear several voices, "The Voice of the Night" as well as "The Voice of the New Day", along with the malicious behavior of the would-be King, and the sometimes fickle crowds.

The pilgrim listens and views and observes in these tunes, and in the process we listeners hear nature sounds that lead to Beau's clear, clean voice, mighty guitar and keyboards, acoustic guitar, dreamy flute sounds, and choral passages. We hear brass touches and a growing sense of grandeur which builds on the theme of "a brand new day". And that's just the first song.

A Panoply of Sounds and Textures

I demonstrated some of that panoply already, and the entire album is marked with this kind of variation and appeal. Melody is strong. I was especially taken by the gripping ballad "Nobody" which I felt like was central to the ideas with in this album set within a lustrous and affecting musical arrangement.

Dreamy keyboards, multi-instrumentalist Shane's drumming, a lovely melodic guitar solo, that restrained, chiming Hammond organ...and Beau's rich, moody vocals, "I'll become a nobody if that's what you want of me." There are some synth leads, and evocative slide guitar lines.

"Coronation" has some almost playful sections and a stentorian guitar lick that grows into heavy guitar/bass/and pummeling drums. "Uncrowned" features a lush a capella choral opening leading into full band grandeur and a dramatic guitar lead.

Pilgrim's Reprise

The finale track reminds us this is a pilgrimage, an epic journey of self-discovery. There are moody keyboards including grand piano playing chiming chords, leading to symphonic strings in a powerful passage, which then subsides to vocal reverie with mystic and gentle keyboards and choral vocalizations...

..which slowly fades with melancholy synth lines.

My Conclusions and Rating.

I thought this was lush, grand, well-conceived, affecting, and captivating. I rate it as 4.5 out of 5 possible progressive pilgrimages- an excellent addition to any progressive rock music collection.

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*)

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.

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

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)

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.