Neal Morse and John Mitchell are in a competition to see how many bands each man can be a part of. In his bid for supremacy, Morse has recruited a rather talented young group of local Tennessee men to his cause. The new band, called The Resonance, was a very wise decision on Morse’s part. While there is no doubt that this is still Morse’s show, The Resonance takes one of prog’s most prolific artists on a journey I don’t believe he would have undertaken with any other group. Their new album, No Hill For A Climber, is one of Morse’s finest collaborations to date. While Morse has always surrounded himself with exemplary musicians (and The Resonance are no exception), I don’t think any other band experience has impacted him in the same way. For a while now, too much of Morse’s recent output has felt by-the-numbers. To his credit, even on a bad day his writing and performance are above average; still, some spark has been missing. Morse’s wife suggested he do something with the talented locals who had performed at his Christmas shows and other events. Getting together in early 2024, the guys started kicking around ideas, and with the addition of vocalist Johnny Bisaha, things came together.
Two things are very noticeable right from the start. The first is Rich Mouser’s mix. The sound on No Hill For A Climber has an openness and breadth missing for quite a while. There are now fewer instruments than on any other Morse project, yet the crispness and space give the performances a sense of warmth missing since the Testimony days. The second is that, love it or hate it, Morse is completely committed to his faith and wears it proudly on his sleeve. What is different is that this time his lyrics are much more matter-of-fact, exuding a comfort in his conviction.
The opening moments of Eternity In Your Eyes lay it all bare. Atmospheric, symphonic sounds bleed into a restrained exhibition of prog chops. Each instrumental contribution feels thought out, not just for how it fits in the song, but also for how it sits alongside the other instruments. Morse takes the first vocal over a simple, unfussy, piano-led arrangement. The spaciousness of the mix allows the listener to glean the details lower in the mix, such as the zither or xylophone that grace the track. These musical fine points heighten the listening experience, particularly with headphones. It’s halfway through the song’s nearly twenty one minutes before we hear another vocalist, who I suspect is utility man Chris Riley. His voice adds a new, airier dimension in contrast to Morse’s full throated approach. This is quickly followed by one of the busiest movements in the suite, appropriately titled Hammer And Nail, propelled by bass and drums. The song’s final part is a typically uplifting, major chord, pull-out-all-the-stops denouement. Filled with a welcoming and inclusive spirituality, Eternity feels like a lost Transatlantic track without the histrionics. It is a poignant and inspiring introduction to the band and the album.
Thief is a song that would not have appeared on any other Neal Morse project and is all the more welcome for it. Bass and electric piano set the tone with a slow, bluesy shuffle, only to be taken over by a Gilmouresque lead guitar, which then succumbs to a rocking, fast-paced section indebted to King Crimson. The song returns to the opening shuffle, but this time with horns added. By the time the piece closes with more proggy deliciousness, you wonder how so many ideas not only went into one song but all fit together quite naturally.
The first release from the album was a Morse composition, All The Rage. It has his stamp all over it, yet doesn’t feel so rote. The shared (with Johnny Bisaha) yet distinct lead vocals give the melody a thickness and energy that are incredibly appealing. In contrast, the piano lends a lightness that the synth floats through with clarity, while the organ gently anchors the whole affair. The final “shorter” piece begins with a 12 string acoustic which becomes a soft blanket for Bisaha’s high tenor to wrap itself in. Not until the bridge of Ever Interceding does the full band join in, and in an understated manner at that. Each verse builds and layers on vocals without cluttering the proceedings. It is a wonderful example of song over technique, and the performance is spectacular.
The final piece on the album is the nearly half hour epic title track. Winds blow across a desolate landscape as mournful horns and an insistent synth make their way across No Hill For A Climber. An Eastern motif transforms into a pummeling phrase which yields to bright synths, and we haven’t even reached the three minute mark yet. Morse and Bisaha trade vocal lines while the band flexes its musical muscle. The dynamics of the aggressive and silken verses are an appreciated respite from what has been Morse’s kitchen sink approach of late. Ripping a page from his recent work with D’Virgilio and Jennings, the acoustic interludes add another shade, especially when augmented by the synthesized strings and Eastern motifs. Even the time signature changes feel organic rather than pointing a “notice me” finger at themselves. The fourth movement is resplendent in both musical and vocal terms, reminding me in some way of the “I get up, I get down” portion of Close to The Edge. It even leads into a very active section where once more bass and drums are the prominent instruments, making the vocal harmonies that much sweeter. The repeated use of certain melodic phrases throughout provides continuity and ties the piece together so well that the epic is over before you know it. But not before a wonderfully affecting symphonic ending that ranks with one of Morse’s best ever. The only misstep is that, after a brief pause, a string quartet comes out of nowhere to repeat a short phrase from the epic for the next minute and a half. It comes across as gratuitous and adds nothing to what came before.
No Hill For A Climber puts Morse back on track. This is in no way meant to denigrate the star powered vehicles he participates in. It just seems that stepping away from the familiar has opened new avenues as both songwriter and performer, and the results are glorious. I have not been so enthralled with a Morse project in years. No Hill can stand proudly with anything in his expansive catalogue.
Check, John Mitchell – the next move is yours 😉
TRACK LISTING
01. Eternity In Your Eyes (20:56)
02. Thief (5:22)
03. All The Rage (5:34)
04. Ever Interceding (6:31)
05. No Hill For A Climber (28:49)
Total Time – 67:12
MUSICIANS
Neal Morse – Keyboards, Guitars, Bass, Percussion, Lead & Backing Vocals
Chris Riley – Keyboards, Guitar, Bass, Lead Vocals
Andre Madatian – Guitars, Orchestration
Johnny Bisaha – Lead Vocals
Philip Martin – Drums (2-5)
Joe Ganzelli – Drums (1,2 & 5)
Chris Carmichael – Violin, Viola, Cello
Amy Pippin – Backing Vocals
Julie Harrison – Backing Vocals
Chris West – Trumpet, Fluegelhorn
Desmond Ng – Trombone, Euphonium
ADDITIONAL INFO
Record Label: InsideOut Music | Radiant Records
Country of Origin: U.S.A.
Date of Release: 8th November 2024
LINKS
Neal Morse – Website | Facebook | Bandcamp | YouTube | X | Instagram
