ALBUM REVIEW: The Son, the Liar, and the Victor – Notion Blue
Since the 1980s, much of the progressive rock mainstream has become something of a discrepancy. While the meaning of the word ‘progressive’ intrinsically implies to be advancing with something, many prog rock bands opt to go for a sound that might sound a little too much like the old giants like RUSH or YES. In other words; these acts may be able to create forward-thinking pieces of music and play their instruments with often superb prowess, they are not remaining true to the tag and actually moving the sounds of rock music forward into the future. Luckily this is not the case with the New Haven, CT-based progressive rock trio NOTION BLUE, who have just self-released their debut full-length album The Son, The Liar, and the Victor. The talent of each member is shown quite clearly in the music here. It is no small feat to create an epic suite, and all things considered, NOTION BLUE pay immense gratitude to the old greats of progressive rock with this album.
From start to finish, The Son, the Liar, and the Victor serves all of the traits of classic prog rock into one stretching piece; orchestral interludes, and non-restrictive instrumentation. On top of an unerring implementation in terms of performance and production, the album is also very well thought out. The Son, the Liar, and the Victor is profound in emotional dynamic—something that could possibly be attributed to singer and keyboardist Max Barbi’s unfortunate loss of brother and fellow musician, Johnny Barbi. Everything here is given an abundant setting, as is best put into work with the complex keyboard and vocal harmonies. The emotions are kept moderately airy, but there are also many bits of piercing tensity to give the songs a sense of that mentioned, dramatic discord.
NOTION BLUE play a style of the technically mastered, riveting mingle of progressive rock and metal, with each member achieving technical perfection. What sets the trio apart is their magnificent fascination for melodies and emotion in the music, something that much progressive metal seems to lose in favour of intricacy. The Son, the Liar, and the Victor is a scrupulous album that gives the listener every sign that the act is going after something of epic proportions. And indeed, one thing that NOTION BLUE has had down from the get-go is the craft of album-making. On this album, one can hear a thespian performance of progressive metal that goes from blustering technicality to stirring transitions of genuine prog rock.
Max Barbi has a very distinctive timbre to his voice and is a very definitive part of NOTION BLUE‘s sound. Especially when it comes to the softer parts of the record, he sings these arresting canorous lines that have one going back again and again to it. Instrumentally, NOTION BLUE are outstanding, always gripping.
With The Son, the Liar, and the Victor being NOTION BLUE’s debut album though, it doesn’t take a lot to realise aspects of their sound that are uniquely theirs; primarily the vocals, but also a very arduous depth to the instrumental parts. The obvious progressive rock influences work exceptionally well with the poignant, twirling sound NOTION BLUE utilise, as songs such as Always Tomorrow, I See the Light and Homecoming fruitfully display.
Rating: 8/10
The Son, the Liar, and the Victor is out now via self-release.
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