WHITEOUT

A strong album with a resonant sociopolitical message!

Sonus Umbra is a band I've been familiar with for several years, I remember my first approach was only because I knew their mastermind Luis Nasser was from my country, Mexico, so I wanted to explore more about them, and yeah, liked what I heard. Though the band have delivered a diversity of sounds and concepts throughout their discography, I think there is a constant element in their work, which is the ability to reinvent themselves without losing their essence. And I think that was what they just did with "Witheout", their first album after pandemics.

For this release, Nasser emphasized his rebellious spirit, wrote his ideas down and transformed them into an 10- track album with a running time of 70 ambitious minutes where prog rock and political responsibility converge. His teammates this time are long-time friends and colleagues Tim McCaskey who is in charge of guitars, and multi- instrumentalist Andy Tillotson, both members of Sonus Umbra, however, there is a nice amount of guests musicians or let's say unofficial members such as Aaron Geller, Pete Laramee, Anglagard's Mattias Olsson or Luz de Riada's Ramsés Luna.

As Luis Nasser himself mentioned in a video posted on the band's social media, this album is a plea, a plea for equality, for ending racism and fascism, for a better life; and though it mainly relates to the United States, the message can be appreciated by any citizen in the world. So the first part of "Whiteout" opens the album and since the first seconds we can listen to some phrases made by politicians or public figures who could / can influence people. Then the music delicately enters, with guitars as main elements, while a tense atmosphere is created by keyboards and bass shares its first notes. The last part is a bit stronger, drums appear and then we end-up listening to some far screams until a villain-like voice joins; when that happens, we have reached "Amnesia Junkies Part 4", that voice (I presume is Nasser with some effects) welcomes the "21st century schizoid nazi", with a dose of humor, however, the critic is not really implicit but explicit. Then the rhythm led by bass and drums make us move our bodies and feel hypnotized. The use of spoken word is a crucial element in this album, but more interesting that those words barely come from the band themselves, for instance, here we clearly listen to the lunatic Trump's voice. But well, the music is great, the bass is amazing and I love the synthesizer work by Steve Katsikas, adding a kind of psych flavor on it. This track finishes with an outstanding guitar solo.

I was surprised when I listened to "Whiteout Part 2: Aurumboros", because I immediately made the connection with Luz de Riada. Yeah, Nasser is also part of that Mexican band whose latest record includes a song with the same name (though I think maybe a letter change): Aurmboros. Well, it is, but it is not the same! Haha, because this Sonus Umbra track has those spoken words, but I also think they did some changes to the song, I am pretty sure they re- recorded it, because it sounds a bit different indeed. Great song, though. "Whiteout Part 3" keeps those bass lines making the rhythm, but I like when guitar notes appear because they are not lineal, they never share the same chords or notes, so along with the synths, the music becomes a bit colorful, in spite of that sense of protest and social satiety it has. A heavier passage begins after 2:30 with once again an amazing guitar solo by Pete Laramee included. Sometimes I don't really know where to place Sonus Umbra's musical style, I mean, prog rock is evident, but is it symphonic?, is it experimental?, is it Crimsonian or Floydian? Don't know, and as a matter of fact, don't care.

"Imperfect Ally" is a softer track, atmospheric, that might work as a kind of interlude, a moment of reflection. Delicate piano notes and a gentle rhythm, bass and guitars here and there, and some celestial female vocals as background which I presume come from former Sonus Umbra singer, Brittany Lee Moffitt. The music stops but there is one minute left, so Nasser appears with his spoken words to talk about the felonies made by US police, who with a lack of justice have detained and even killed innocent people, mostly African-American. The band pay a sense tribute to these innocent and unarmed victims by saying their names.

And then a 16-minute monster appears. "Whiteout Part 4: Incognegro", the critic and satire come in the title itself. The first two minutes come stealthily building-up a structure that will have a first mini-explosion at minute three, when the intensity increases. The musicianship is great, Nasser's bass take us even to Tool, while McCaskey and Geller intercalate their great guitar skills taking us into an adventurous road. A somber piano and spoken word (speech) passage come after minute five, but then at minute seven Crimsonian guitars appear and the atmosphere changes, becoming even tenser until minute eight where drums and bass drastically change the direction (yeah, other Crimson vibes, but different). Nasser and Tillotson let us know they perfectly know each other, because there is a passage where they speak at unison, creating an interesting chaotic passage. Of course, with a song this long it is normal to have several changes in rhythm and mood, and I like a lot the one at minute 12 where keyboards take over for a brief moment. The last minutes are basically a piano background while spoken words reinforce the plea.

"Into The Maelstrom" is the fifth part of "Whiteout", which focuses on the music and leaves for a moment behind the speeches. Don't want to sound redundant, but once again it is clear to me how the musicians understand each other well, Tillotson and Nasser really work as a synergistic entity; while McCaskey and Geller are genious in where and how to add their strings. Four minutes of vertigo and then a sudden change in the last minute, where atmospheric keyboards appear. "Insects Part 4" starts with some speeches, and then a heavier rock rhythm strikes, leading me to shake my head. An hypnotic passage starts at minute two when guitar joins and take the leadership, backed by bass and drums. But seconds later a bombastic symphonic keyboard solo made by long-time collaborator Brian Harris takes over. The energy stops at minute four, and just as the previous track, the last couple of minutes are spoken word over a delicate piano background.

We are reaching the final part of the album, first with "Witheout Part 6: Anthropocene Blues" whose sound could easily belong in a film scene, spoken word, soft strings and delicate drums and then mellotron adds its shiny sound as background. Later the music develops new rhythms and in each round the notes are changing so the music is never plain. Despite starting in a soft way, the sounds morph and turn into a chaos for some seconds, just before returning to its original form. "Whiteout Part 7" the Epilogue or Requiem has a desolated feeling, just like our actual world, where a lot of sad things happen in a daily basis. The sounds keep the same pattern, while there are messages being delivered by some speechs, strings, drums and synth effects are in the back. And it flows, with that somber energy, until its very end.

This is a great album by Sonus Umbra, a bit long if you ask me, but its been clear to me that they are trying to plant a strong message through art, which is always welcome.

Progressive rock is often a perfect platform to musically expand on a multitude of subject matter, from esoteric musings and science fiction laced tales, to social and political commentary, as well as analysis of the human condition. This eclectic American band pulls no punches when addressing the current global malaise, offering sharp rebukes to the increasingly alarming extremes that permeate society. While their message is one of humanity, we all do live in a world infatuated with personal opinion, and as such, everything can become a well of endless debate, often for the sake of challenge or revolution. Each listener will heed or reject the message delivered as befits a pluralistic open democracy. I am here for the music, which is by any set of parameters, outstanding!

The title track sets off the voice effects with a sensational electric guitar musing that literally cries out with urgency and pain. Tim McCaskey and guest Aaron Geller stretch their strings to the breaking point, as bass man Luis Nasser begins the gentle cage rattling and co-conspirator Andy Tillotson banging his kit in defiance only at the very end. The stormy debate is unleashed on "Amnesia Junkies Part 4", a cosmic rant fully sprinkled with "locker room talk", mostly some of the classless comments from Mr Trump, who epitomizes the modern confrontational politician, now available on all sides and all continents seemingly insulting and being insulted is the new version of political exchange (which is why I personally lost faith in politicians decades ago). The arrangement is quite close to vintage Gong, blending the sound of space and the absurdity of human coexistence.

This classic sound is even more pronounced on the flute and synth volleys on the epic "Aurumboros", rekindling images of Malherbe vs Blake, while Nasser does his Howlett bit and guest Mattias Olsson shows off his Pierre Moerlen impersonation. The chaotic nature is fully enacted by the legendary words of Gordon Alan Gecko in the movie Wall Street, expressed in controlled intensity by Michael Douglas. I remember being in a cinema when that premiered and all the young dudes in the audience looked at the perfect anti-hero (the hell with Batman, Superman and Spiderman) and yelled "I wanna be like him!". Low and behold, a few years later, they appeared: Kozlowski, Madoff, Enron, Xerox, WorldCom, Lehman Brothers, Adelphia, Parmalat, Elizabeth Holmes, etc? And to say, we are not influenced by media! LOL.

This segues nicely with the terrific bass onslaught on "Veterans of the Incel Pixel War" with floating pot-head pixie images galore, synthesized turmoil oozing from very pore, a wickedly evil Pete Laramee axe blurt and some raunchily rancid organ courtesy of Alan Hearton, showing off his Brian Auger studies. Tremendous progressive rock, to say the least. The voice effects continue pounding the message that hints at INGSOC period Orwell.

The proverbial change of mood arrives with "Imperfect Ally", almost a well-needed lullaby in comparison, with ornate piano decorations suggesting a more serene interval from all the madness and confusion. The massive 16 minute + "Incognegro" reignites the bass guitar lead, Nasser egging the others into a maelstrom of groove, laden with pain, agony and drama, dual guitars raging as they criss cross the angry streets of the arrangement and a MLK slice of emancipation and justice (yes children, there was a time when leaders were gifted with the art of oration!). Nasser then decides to do my favourite thing in prog: a serpentine bass solo that chugs along like a mourning funeral train. He is truly a master of his instrument and fully on top of his game. Brilliance incarnate. The mellotron makes a careening appearance, secured with some thrifty guitar riffing, tingling synths calm the atmosphere with appropriate majesty. Piano, words and sombre reflection terminate the arrangement.

After such utter poignancy, the need to venture into a different light is needed, "Into the Maelstrom "surprises with its floating qualities, the bass still calling the shots in the undercurrent, as the steaking electronics scatter the horizon's wispy clouds. The level is raised but not in a forceful way, perhaps a bit more manic and expressive than noisy, and that is just perfect like that.

With its buzzing guitar stings, "Insects Part 4 Vita Pascitur in Vita" reverts to a muscular tone, verging on metallic rock, as it increases the swagger and builds into a volcanic keyboard foray (Brian Harris). The drums now are flailing, guitars back to biting off large chunks and shifting the spotlight to a poem of spoken word finale, with a piano as company.

'The Garden of Eden is no more' are the bleak words that introduce the "Anthropocene Blues", a time long ago, when the planet's humanity changed to become both empirical and bellicose, stretching and analyzing the extremes of mankind's propensity for good and evil. Magnificent creations and unspeakable horrors intertwined between inner and outer influences. The music is suitable restrained, absorbed and ponderous, and since I love history as much as music, I can easily find the markers discussed by the frail voice of the philosopher, finding myself in comfortable territory for thought and understanding.

This veers to the finale "Epilogue or Requiem", the human condition in all its complexity, absurdity and incredible ability to forget the good and concentrate on the bad. I remember vividly as a child looking up at the Apollo moon missions. Armstrong setting foot on the soil while I was behind the Iron Curtain for a visit in a summer youth camp and seeing the lack of political divisiveness at that precious moment, when all of humanity was truly ONE. Just for a moment. Essential......if we are to survive.

4.5 existential snowstorms