Messenger – Threnodies – Album Review

Artist: Messenger

Album Title: Threnodies

Label: InsideOut Music

Date Of Release: 22 April 2016

It’s no exaggeration to say that the UK progressive music scene enjoying a period of rude health at the current time. To the already impressively-swelling ranks, you can now add the name of Messenger, a London-based quintet who bring accomplished musicianship and a plethora of personal influences to the table to create their own distinctive brand of progressive rock.

It is hard to believe but ‘Threnodies’ is just the second album from this young band who only sprang into existence in 2012. Throughout the seven tracks, you can hear the blend of youthful exuberance and a seasoned professionalism that belies their age.

And yet, despite this, ‘Threnodies’ has been a hard review to write. On the one hand, I know that the music is high in quality and with enough originality to intrigue listeners. However, from a personal point of view, I cannot seem to fully warm to the final product. I have tried an awful lot to like this record more than I do, but something stops me every time. I quite like the music and I respect the band. But I just fall short of having an emotional connection with it and I don’t get that overwhelming urge to press repeat like I feel I should. It’s intensely frustrating.

The melodies are present and correct, there is plenty in the way of variety and the record demonstrates a fondness for days gone by whilst remaining fresh and up-to-date. And yet…yet…aaargh.

‘Calyx’ opens up the album in a calm and considered way but develops into something quite dark and brooding . I’m reminded ever so slightly of the likes of Gazpacho at this point. However, as the song ploughs on, it builds almost imperceptibly, led by the impressive rhythm section of drummer Jaime Gomez Arellano and bassist James Leach. It is almost as if the composition has two halves because, after dropping away to almost nothing, a heavier riff enters the fray alongside a prominent piano before the whole thing speeds up towards an epic and energetic crescendo.

‘Oracles of War’ is an entirely different beast. It does not hide its 70’s influences and is dominated by big doomy riffs courtesy of guitarists Khaled Lowe and Barnaby Maddick. It begins with a cheeky swagger and strong Sabbath-esque overtones. The keys of An Knight are very prominent, creating rich, nostalgic textures. The track offers much in the way of light and shade too, with tempo changes as well as fluctuating levels of intensity. In the latter stages, a really lovely guitar solo kicks in to echo Pink Floyd. The bass also catches the ear and the track drifts off on the crest of a folky, Floyd-inspired wave.

‘Balearic Blue’ opens in bright and breezy fashion with delicate vocals and soft guitar melody. The vocals remain quite relaxed and ethereal throughout whilst injecting passion into the performance. The track floats along really nicely, allowing that most beloved prog instrument – the mellotron – to shine.

‘Celestial Spheres’ features some very impressive guitar work within a framework that feels looser and more organic than that which has gone before it, creating a sense of carefree fun in the process. Again the 70s influences loom large but never overpower proceedings. Contrast that with the altogether more sombre vibe of ‘Nocturne’ which also dials up the heaviness quota in and around its altogether more introspective meanderings.

‘Pareidolia’ offers a folkier vibbe before ‘Threnodies’ closes with ‘Crown Of Ashes’. In keeping with the rest of the record it is a composition that offers much but in a subtle way. On one hand, it is a light and easy song on the ear but at the same time has a rather intense and mournful undercurrent.

After all that, have I managed to convince myself to like this record any more than before? Unfortunately, the answer is ‘no’, although what I will say is that I will return to it again in an effort to find that elusive epiphany that I’m certain has got to be lurking somewhere in close proximity.

If you’re a fan of really well constructed rich and sophisticated progressive rock, then please don’t let my review put you off too much. Indeed, I hope this review actually acts as a catalyst for people to give it a try for themselves. It is most definitely worthy of your full undivided attention and I have every confidence that my general malaise is very much the exception rather than the rule.

The Score Of Much Metal: 7.0

[youtube https://www.youtube.com/watch?v=MnQYWp6cYVU&w=560&h=315]

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