John Mitchell launched (sorry) his Lonely Robot series of albums via Inside Out in 2015, and now, in 2026, we have An Ending, the sixth in the series.
There are twelve pieces of music, and for this album, Mitchell is signed to Rob Reed’s excellent White Knight Records. To obtain a copy of this fine album, simply pop along to https://www.whiteknightshop2.co.uk/store/Lonely-Robot-c203373663
For readers to note, I am publishing this review of An Ending prior to a planned interview with John, which will be broadcast on Progzilla Radio, and a transcript on this website. As usual, aside from when artists send a detailed explanation of what each track means (surprisingly, this does not happen often), I like to put a personal interpretation of what I hear in the lyrics, music, and atmospheres created. A downside to this, of course, is that John might make me look like a wee bit of a wally for getting it so wrong!
Mitchell is again joined by the altogether wonderful Craig Blundell, who is simply a tour de force as a drummer. Aside from this, Mitchell is responsible for all else, and what I will say here is that this latest album does take his keyboard work further into the deeply impressive space. Of course, he is best known as a guitarist and vocalist, but this series of albums has seen him grow with the keys, of that there is no doubt.
First off, let’s take a look at the official promo of the album.
Opener is This World Window, made available in advance of the release, and embedded for you at the foot of this review. I think this is gorgeous, very thoughtful music, plaintive in how he has come to say goodbye.
Show the Way is one of those pop/rock tracks Mitchell seems to write and perform with ease and lyrically references humanity in a light that flickers in a place of ignorance. We are remarkable in so many ways, but, by God, there is so much avarice, and nastiness abound. Particularly on this track, Mitchell creates some delicate soundscapes. There is, of course, a bursting guitar riff, short but sweet.
Back to the Middle has a gorgeous guitar burst at the start, and the track strikes me as being a continuation of the breakup narrative, with every incident taking him back, everything a waste of time, with lies a constant barrage. Is there quite a bit of frustration in this one? A highlight of the album is the guitar solo as it moves into the final chorus.
In Ocean Light sees our hero staring out at This World Window – the thought that struck me here was he might be in orbit contemplating and reflecting looking down in the same way as Star Child did in Clarke & Kubrick’s classic movie. It is a gorgeous rock ballad, delicate sounds on the keys, a strong piano lead, and a voice full of yearning by Mitchell, who is not looking for forgiveness, a solitary echo on the sunset of our hearts. It was listening to the keys on this, that convinced me that it is his strongest synth, programming performance in all six albums, but the guitar isn’t forgotten, because the solo on this is achingly gorgeous, full of emotion.
Ad Astra – to the stars, as in the RAF motto, or, perhaps, a reference to the 2019 Brad Pitt film where an astronaut goes into space in a quest to find his father, an obsession which threatens everyone – of course, Mitchell’s father has been a theme in previous Lonely Robot albums. “To the stars we aspire”. I think this refers to the defining need of humanity to stretch itself, to explore, but also refers to the space within us. There are some gorgeous pastoral notes on this before another scintillating guitar riff. The musicianship is phenomenal from Mitchell throughout. Superb.
Where in the World recalls classic Supertramp, especially in the plink plonk piano. It asks where she hides, but why should he care – he thanks her for the memories and the intensity pushes up a notch with a full-throated guitar solo.
Twin Suns is the longest track here (still only 6:21, so no lengthy prog epics) and is a very strong rock song. I really like the complex guitar riffs. In the chorus, he wants her to turn around and tells her there was beauty in the life they had. There is a lot of pain still inherent in this set of songs.
The River has a nice expansive theme at the start. The vocals are more laid back than elsewhere, and it is a highlight of this album, Mitchell producing some gorgeous guitar licks, especially those ghostly notes in the background behind the vocal narrative and I think he is simply standing on his boat gazing out at the gorgeous vista before him – no sci-fi, real life on the ground, and reflecting that he is not capable of forgiveness – the river is somewhere that meant something to them, and the four-minute mark brings with it a rock explosion, the thunderstorm, the desolation, and it is stronger in tone here. Even so, the delicate work is not lost to us.
Rearview has a brilliant drum riff from Blundell at the start – what a lot he has contributed to this project. This is a dramatic song, obviously looking back on past journeys, the piano work is very good, and a nice guitar burst. He talks about the rearview mirrors beginning to fail, reflecting the life it tarnishes.
Bending Light has disturbing, almost psych, key noises to begin. Mitchell, I believe, is talking to his alter ego, asking what drove him to go out in the first place, the bending light, refracting, changing the truth, and driving him insane, and the commentary seems to imply intense dissatisfaction with the project. This is a very full-on piece of music, and the author is singing his heart out, afraid he is being driven out and insane, but what does it matter? A highlight of 2026, for sure, something that will bring more to the listener each time, and the guitar solo when it comes is pure classic rock emotion. A clear contender for track of the year on this website.
The Iron Sea is the penultimate piece. They have come to take the Lonely Robot, who is still looking for his home, and the lyrics talking of symmetry and parallels repeats to me that alter ego relationship between Mitchell and LR. The music on this is very cleverly stripped back for the first couple of minutes, but it sort of creeps up on you, and the whole thing builds to a very impressive keyboard led crescendo, Mitchell belting out the title words with massive emotion, the orchestration moving. He is going to miss this project, for sure.
It all closes with Oblique, which I take to mean the indirect definition of the word, as opposed to the mathematical one. Again, very stripped back to start, a lonely piano accompanied then by voice, talking about a thin disguise, and I believe John has exposed what lies behind that with this second trilogy, pouring his heart out, which could be thought of as immature, unreasonable, a broken heart for sure, and the orchestration is suitably mournful. It is a beautiful song, referring to family ties, and obviously hates deceit which drains him of life energy.
I’m a lonely robot, and I’ve come to say goodbye. There is a finality in that, but let us hope that this talented musician’s solo journey does continue to delight us – not the lonely robot, but a new venture, because the music world would be a sadder place without it.