There’s pomp and grandeur in abundance, not to mention heavy hints of Genesis and some keyboard breaks worthy of Yes. Classic prog tropes (Marillion, ELO) are augmented with some vintage rock sections with some full-on guitar solos. But there are also some well-realised moments of expansive tranquillity and atmosphere. And of course, the technicality of the musicianship.
But for all of the complex song structures and the wildly varied sections that are sometimes quite astounding – how did they get from there to there in the space of a single bar? – the most striking thing about ‘The Oblivion Particle’ is just how accessible it is. Of the nine tracks, only one clocks in at under five minutes (and only just), with the remainder stretching way beyond the six minute mark. Nevertheless, there’s a keen pop sensibility that informs the songs here, and Ted Leonard’s voice is pleasingly melodic.
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It’s pleasing to hear a band, 20 years and a dozen albums into their career, still expanding their sonic palette, and still testing themselves, pushing in different directions. They’ve pulled it off, too.
Spock’s Beard Online
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