I read somewhere once that music reviewers must be strictly neutral, and not give away any hints whatsoever of favouritism. Probably on the dear old Aunty Beeb, bless it. But wherever it was, I am very glad to state that this website can be shamelessly parochial, and when Charlie Bramald (in my opinion, the finest of the new wave of progressive rock vocalists around) contacted me about a new project, Shadows on Mercury, the interest level on the Lazland gauge was suitably piqued.

Joining Bramald is his Ghost of the Machine colleague Scott Owens on guitar, bass, and programming, and Tim Lofthouse from The Lowells on keyboards, whose work I must become more familiar with after listening to this.

The project was born out of Ghost… This EP contains three brand new tracks, and two previously released pieces, The Silence, and The Flood, neither of which have been reviewed on this website so are swept up here. Before we discuss the music, the stunning cover is yet another example of Bramald’s artistic creativity (see also Nova Cascade and others).

So, five pieces of music. We start off with The Silence, a five-minute piece. Immediately, the expansive mood captured by the synths, piano, and bass make you sit up and take notice. Bramald when he enters introduces a thoughtful piece of music. Lofthouse plays a mean Hammond on this, and the theme of whether humanity is going to get what it deserves at the end of the world is a familiar one now – perhaps the only people not taking sufficient notice of our environmental worries are the politicians and corporate “leaders”, who, somewhat regrettably, will not be the only victims of their greed and incompetence. As the piece moves into its final segment, the synth riff is incredible set against the backdrop of a subdued, but clever guitar and rhythm section. Embedded below, it is a cracking piece of music.

This is followed by Calculate (Control). In sound and texture, this track is reminiscent of some of my favourite 1980’s progressive rock. The guitar work by Owens especially is very good in a thoughtful rock track which I think would translate very well in the live arena. Lyrically, the piece is interesting in how the modern world communicates itself both to and between us, and whether we are ever truly free or enjoy any privacy now.

The Flood is a progressive rock delight. Sumptuous keys introduce Bramald whose voice drips with emotion describing an inner void and pain upon a loved one’s leaving. Some of the programming is astounding, and Owens produces a deep, emotionally laden guitar solo in addition to a wonderfully melodic bassline as the track progresses towards its close. I have embedded this track below. It is impossible not to be moved by it.

The King of Broken Things is an early contender for this website’s “title of the year” award. It opens with an expressive piano and programming. As the main theme begins, there is a nice guitar loop and a rhythm underpinning, Bramald telling a story of an invitation from the common folk to follow a “leader” oozing with self-confidence in true classic prog fashion. The king’s invocation is dramatic, the guitar solo is burning with political desire, and it all sounds magnificent – Owens has done a seriously good job with the knobs throughout.

We close with Worlds Apart, the title track. The keys which introduce it have a nice oriental feel to them. As it develops, the song is thoughtful. The bass melody is again at the heart of the music, and Bramald evokes a sense of loss and distance, this very well commentated on by a lonely synth solo. The trio’s essential progressive roots come to the fore in the closing passage, the keys creating a lush soundscape and a gorgeous guitar solo before Lofthouse closes with something Banks himself would have been very proud of.

Shadows on Mercury provide yet more evidence that we are living through a golden age of intelligent progressive rock music. Yes, this author loves the classics, but very strongly eschews the ridiculous viewpoint that prog somehow ceased as a creative force in 1979. This trio, as with the “parent” band, very much nod towards the wall-to-wall sound pioneered by classic bands in the late 1970’s and particularly the 1980’s but are rooted in the third decade of the 21st century. This EP makes you salivate for more and is very highly recommended. Grab a listen and get hold of yours at https://shadowsonmercury.bandcamp.com/album/worlds-apart