Born from the vibrant Scottish progressive scene back in the day, including seminal band Abel Ganz, Long Earth release their third album, An Ordinary Life, which, as the title suggests, deals not with goblins and giants, but is rooted in the real experience, quite political and is billed as a “three act play” ultimately encouraging us to live our life, as it is the only one we get. Amen to that.
The album lineup is Mike Baxter on keyboards; Martin Haggarty, vocals; Renaldo McKim plays guitar; David McLachlan bass; and Alex Smith on drums.
We open with Fight the Hand That Bleeds You, a stark and strong anti-politician song which rails against those who wrap themselves, and us, in the division of religion, tribe, or nation’s flag. It is an epic-length track, and the opening contains more than a little type of the keyboard-led bombast with which the likes of ELP and Asia delighted us. Haggarty has a voice which puts the lyrical intent across very well. Baxter shows his chops strongly throughout, a fine performance with soaring keys and strong solos, the rhythm section is very strong, with a very good bass melody noticeable. Just over halfway in, there is a delicious quieter passage before McKim enters the fray and treats us to an emotive guitar solo, underneath which is a cracking drum riff and bassline. The closing passage rocks out in fine fashion. This track is very catchy and a fine opening to over an hour’s worth of melodic progressive rock.
This is followed by Morpheus, the ancient Greek god of sleep & dreams, and this song takes us through the many manifestations, including that stark childhood memory I have of “always waking before I die, the grim reaper to defy”, where I would fall into the black abyss, but wake up before reaching the bottom, the old legend telling us that reaching said bottom would mean the end. I have embedded this track below. I love the start of this, deeply thoughtful, and you notice some more fine melodic basslines in this, the guitar and voice giving us a strong post-gothic vibe as the dream takes us into the fantasy world of realising power with the dream starting grand designs and wondrous schemes. McKim treats us to a gorgeous solo just over two minutes in from the end, and this entire track is a good example of the inherent quality in the album.
The first part of “Life” is up next, with a story of fleeing the nest, playing the field (and the fool), before meeting THE one, the love of his life to whom he proposes. This delicate track is a favourite of mine, the piano introduction perfectly setting the scene for the parents bidding farewell to their offspring. As the piece develops, there is a nice commercial sensibility to it, with the final ninety seconds awash with a dreamy soundscape.
Sand is starkly simple – an old man reflecting on his life and wondering just how did it go so bloody quickly? The curse of mortality to me, with each and every day going quicker than the last. Herein lies this album’s strength – rooted in the experience of us all. Haggarty tells this story without fuss and with aplomb, and the band provide us with some emotive riffs, the drums especially thumping out the old man’s despair. Stronger riffs give way to a magnificent keyboard led kaleidoscope of sounds before the main theme reasserts itself. A wonderful piece embedded below.
Shadows tells us the story of a love in tatters, the embers of the flame still burning in the writer, but unsure whether the other even still remembers him, for she is not alone when he calls. Clearly, a track which puts one in mind of the themes Waters explored in The Wall, but without the bitterness embedded in that work. This is the second epic-length track, and the opening segment is deeply pastoral, taking the listener back to circa Nursery Cryme era English progressive rock (he says, not wishing to upset a proud bunch of Scots). I really like this track, oozing with feeling and I believe more than a bit of catharsis on the lyricist’s part. Despite its length, this is a piece I think should attract some radio airplay (perhaps there is a single version awaiting editing?) because the band once again show that sadness and maybe some bitterness does not need to be wrapped up in angry chords and shouting to be effective. Here we have some lovely harmonies alongside the lead voice, fine acoustic guitar work, lolling percussion, some more fine basslines, and the keys setting the cloud underneath which all the rest reach up to, with the closing passage simply beautiful and aching with sadness. One of my highlights of 2024, this track will feature shortly on my review spot on Progzilla Radio.
The second part of “Life” is The Arc, again asking where all the years have gone, but in a loving way reflecting on this in the company of she who shared those years, the passion remaining. Musically, this is a fine melodic ballad with some particularly fine rhythm guitar and a lush lead piano. Again, the bass guitar of McLachlan makes you sit up and take notice.
Moscow references the modern tyrant leading that nation, with scores of its young men sent to die in the killing fields of Ukraine, sent there by a man who cares little for any decent norms of humanity. It calls upon the good citizens of the great city to rise up against said tyranny, but this is surely something which is easier for us to call for than to execute. The example of the incredibly brave Navalny especially being a reminder to them of the price of dissent. This track is embedded below for you, a dramatic piece in keeping with its subject, some fine symphonic keys and a bass guitar which is played as lead so well (stunning as we approach the closing segment), the guitar atmospheric, the chorus very much a call to arms, rousing in its impact. I really like the guitar solo which breaks out five minutes in, heralded by some fine synths which continue to provide a stunning backdrop, the band providing for a huge finale. Top stuff.
We close with the third part of “Life”, Empty Shore, a love lost in time, a song of loss and lament. McKim excels in setting the mood here, with Smith expertly providing a foundation on the kit. Haggarty provides such a wonderfully thoughtful vocal, the voice crying when he wonders whether it is lonely where she is.
An Ordinary Life is a fine album. I think that fans of contemporary acts such as The Round Window will find a lot to enjoy in a work which tells its stories lovingly and in an atmosphere of melodic goodness. Very highly recommended, you can hear more and part with your pennies at https://longearth.bandcamp.com/album/an-ordinary-life