ALBUM REVIEW: Graveyard Star – Mostly Autumn
Graveyard Star is the fourteenth album by British band MOSTLY AUTUMN. They were formed in 1995 and are known for their appealing blend of prog rock and folk with strong Celtic influences. Together with bands like KARNATAKA and MAGENTA they have been at the spearhead of UK progressive rock over recent years and have a dedicated, loyal following. There have been several changes of personnel over the years but founding member, Bryan Josh, is still at the helm ably assisted by six excellent musicians.
This new release was composed and recorded during the unprecedent times of a pandemic and it’s clear that COVID-19 influenced many of the songs. There are references to themes of surviving and re-uniting. The track Back in Your Arms is particularly poignant with images of loved ones enjoying the opportunity to have physical contact again. Throughout the album lyrics such as ‘the days are filled with the best of us, the days are filled with the worst of us’, ‘gone is the world you used to know’ and ‘the stronger you are, the weaker you feel’ resonate effectively.
The album is book-ended by two twelve-minute epics. The title track, Graveyard Star, kicks things off with a measured, sombre introduction. The first six minutes are pleasant enough, but it is the acoustic break and subsequent guitar solo that elevate the track into something special. And then, when one expects the guitar part to become the song’s outro the chorus returns unexpectedly.
Lead vocals throughout the album are shared between Bryan Josh and Olivia Sparnenn-Josh. The contrast in styles works nicely and there are also some lovely passages of joint harmonising. Repeated plays of the album are rewarding as it is evident how complex the arrangements are. The sound benefits from the guest musicians Troy Donockley (NIGHTWISH) and Chris Leslie (FAIRPORT CONVENTION). The former’s Uillean pipes, and the latter’s violin, are welcome additions and have figured prominently in previous recordings by the band.
Fans of traditional, epic prog-rock won’t be disappointed and several songs tick the boxes for the expected trademarks: restrained introductions cushioned by melodic keyboards courtesy of Iain Jennings, gradual additions of rhythm and drums, soaring guitars and powerful vocals. Olivia’s range is very impressive. At times, her delivery would not be out of place in a show-stopping number on the West End. However, she also knows how to reign in the power and, on Free to Fly, her singing is restrained and beautiful.
In addition to the expected prog/folk combination there are some interesting surprises. On Skin of Mankind the rhythm and supporting guitars are reminiscent of JOHNNY CASH or THE SHADOWS. There is a superb countermelody on violin and then musical colour provided by the Uillean pipes. Shadows is a more traditional, medium-tempo rock number with an effective chord progression underpinning the verses. The dynamics are effective and the repeated refrain of ‘Shadows cut the grain, of the thunder and the rain’ is hard to dislodge from your mind. In Razor Blade the jousting between a strong piano part and acoustic guitar is clever and original. Penultimate track The Diamond showcases the vocals of Chris Johnson blending effectively with Angela Gordon. The pulsating rhythm section is urgent and hypnotic.
The album ends with another epic Turn Around Slowly. Bryan handles the initial vocals and there is the welcome sound of Angela Gordon’s flute. Skin of Mankind is reprised but with a heavier, driving beat and then the record ends with Olivia returning with the chorus from Graveyard Star.
As always, MOSTLY AUTUMN have delivered a strong record. It’s sad that their music doesn’t receive the recognition it deserves. In a parallel universe where, instead of X-Factor there was a TV series called Prog-Factor, they would surely have been winners. But what would they have chosen for the Christmas single release?
Rating: 9/10
Graveyard Star is set for release on September 24th via Mostly Autumn Records.
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