One of my earliest album reviews for The Progressive Aspect was for The Far Cry’s debut release, If Only back in the summer of 2021. The American symphonic/melodic/neo-prog band from New England impressed me with their range of songs, a contemporary lyrical edge and the way they mixed 70s classic progressive rock with more modern elements and even hints of AOR/pomp rock. Symphonic prog epics were intertwined with shorter musical interludes and more eclectic pieces to create a very satisfying listening experience.
When nothing else emerged in the band in the years that followed, I just assumed the album would be a ‘one-off’ from the seasoned musicians, as they followed other musical paths. Thankfully, the arrival of their sophomore release has dispelled that thought. Once There Was is a truly wonderous album that has even managed to top their excellent debut, in my humble opinion.
Founding members, Jeff Brewer (bass and vocals) and Robert (‘Hutch’) Hutchinson (drums and percussion), have revealed that the hiatus was largely the result of their talented guitarist Bryan Collin deciding to leave the band to pursue his musical interests and projects. It was a gaping hole to fill, but eventually they found Brendan Kinchla, a graduate from the Berklee School of Music, to fill it. The decision to bring keyboardist Chris Dabbo fully into the band for this album, and welcome his compositional input, has put the musical jigsaw back together. I can testify that the synergy between them is simply stunning.
Whilst Once There Was might only have four songs, almost all of them are made up of a diversity of multi-faceted sections – no more so that the 12-part epic title song that closes the album. The result is a wonderfully indulgent instrumental maelstrom where the various musical sketches have been stitched together into a lovingly flowing structure that excites and surprises throughout, whilst the thoughtful and contemplative lyrical content provides the coherent structure that creates a solid foundation throughout the album. The elements might not be particularly new or groundbreaking, but the way The Far Cry assemble 70s classic-era prog, 80s neo-prog and contemporary USA-flavoured prog, certainly is!
The album opens with the spectacular epic, 14-minute Unholy Waters. Jeff’s original concept focused on the mysterious Bermuda Triangle-like incidents at sea, but this has been broadened to include the many disasters and lost, ocean-bound ships and disappearing planes over the ages, and the tales that might lie in wait to be told from the bottom of those ‘unholy waters’. The song begins atmospherically with the sound of distant ship fog horns in a stormy sea and plane falling into the waters. Jeff’s deep bass notes are joined by Hutch’s pounding drums and builds up a musical tension over which Chris’s keyboards and Brendan’s guitar soar, before the synthesisers rise high. There is then a lull as Jeff’s light, almost yearning vocals commence and set out the song’s narrative:
Over the rim is a mystery.
Messages sent though truth concealed,
In each event no reason revealed.”
Musically, the instrumentation twists and turns refreshingly, with Chris’s slabs of keyboards very reminiscent of Eddie Jobson’s Yamaha CS-80 sound on UK’s debut (especially In the Dead of Night), with the rhythm section trotting and often galloping along. Slabs of resonant bass heralds in some vibrant keyboard playing followed by some more melancholic patterns. Brendan’s electric guitar now takes centre stage and is rich and uplifting and takes the song to yet another level. However, the mood darkens with the sound of sonar ‘pings’ and the return of the bass and drum interplay, and the guitar’s tone is less hopeful. We return to the original musical theme, and there is very much a Yes-like feel to both the music and the playful vocal harmonies at times too.
Never again were they to be seen.
Forces and elements they didn’t know,
Unholy water above and below.”
Delicate piano begins the majestic and bombastic conclusion and more gorgeous lead guitar lines, joined later by stabs of keyboards before gradually fading into the distance. As a calling card for the album – it is an impressive one.
Crossing Pangea is an expressive and extended (over 12 minutes) instrumental, largely consisting of Chris’s compositional fragments which have been brought together by the whole band, with Jeff arranging much of it. The title reflects on the varied musical themes and sees them as a musical diversity of perceptions and energies needed to traverse this vast and ancient super-continent over its past epochs.
Ominous bass and a chordal background begin the track, before a fanfare of synthesisers are introduced. Hutch’s busy drums break the musical tension, and we gallop away with some great ensemble work and chiming and lyrical lead guitar over lush keyboards. Piano and guitar dance around each other effortlessly and there is even a hint of Keith Emerson-like melodious touches and fusion influences. Jeff’s thunderous bass introduces a swirl of keyboard pyrotechnics and later more guitar virtuosity, to delight any old-school prog listener, sandwiched around an atmospheric and desolate soundscape. Hutch’s intricate drumming has its moment in the sun, before the whole musical tapestry concludes with a grandiose finish, although not without a final rhythmic flurry and a serene, hanging chord to ponder. In many ways the track reminded me of a keyboard led La Villa Strangiato (by Rush) where the various strands are somehow weaved into a coherent and challenging whole.
The Following is perhaps the most straight-forward song on the album. It follows a boy through different stages of their life and considers how his promise and potential is subjugated by the government and society, as a whole, to conform and follow their expectations, leading to a wasted life and unrealized potential. Hutch’s lyrics are as thoughtful and melancholic as ever and are well supported by Chris’s poignant piano playing and Jeff’s wistful vocals. The result is almost a musical ‘sigh’ of what might have been had he followed his own path, rather than go to war in his country’s name – sadly a repeating betrayal to this day.
Why did we let them send him there.
A life and a body to borrow,
His future was taken, we gave away tomorrow.
Why did we follow?”
Musically, the song treads a fine line between a hopeful romanticism, with evocative piano and upbeat keyboard runs over changing rhythmic tempos, juxtaposed with a rather sad, sorrowful feel, emphasised as the vocals take us to the boy’s “plain white-washed headstone”. I think it does this balancing act rather well.
In many ways the track is an appropriate thematic introduction to the band’s ambitious 31-minute, 12-part opus Once There Was. Overall, it is a step wise look at how changes masquerading as progress have affected life over the decades in the USA, from the simple Norman Rockwell-type depiction of 1950-60s small town American life and what has happened since, according to Hutch’s deeply personal lyrics. Musically, the epic sees a coming together of many elements and short pieces, which have been arranged and consolidated by the band into a holistic entity. The song is broken down into its individual fragments and each have their own character – and so while I focus on the individual parts, they are best enjoyed as a flowing, multi-faceted composition in one sitting.
The Rising is an atmospheric and ethereal instrumental with Brendan’s expressive electric guitar soloing a clarion call over the synth-led background wash, with drum rolls joining in and taking us into Once There Was. Chris’s serene piano lines support Jeff’s lightly scattered vocals as the lyrics paint a portrait of a small American town at peace with itself. Bass and drums build up the musical dynamics and push the song through, with melodic keyboards adding sparkle. Instrumentally there are echoes of American prog bands such as Spock’s Beard, Glass Hammer and Evership, amongst others, throughout this epic, with Jeff’s prominent bass patterns having a Geddy Lee-style richness to them. The lyrical imagery captures a ‘Bedford Falls-like’ nostalgic warmth as we encounter the shops, houses, playground, the Olde Mill, Towne Hall meetings, the Summer Fair etc.
Saturday matinees.
In the dark make-believe,
Warm on winter days.”
However, the instrumental Dimension of Darkness conjures up a more unsettled and eerie ambience with deep bass pedals and flute-like synths. This sense of foreboding is continued with another instrumental section, Gathering of Storms, as acoustic guitar, piano and percussion joining the musical mix, before a short lyrical reprise laments the gradual changes to the town.
The Palace has gone dark.
There are visits from inquisitors,
But no one’s at the park.”
The next instrumental The Agitation, has a harder and more antagonistic tone, with energetic ensemble playing and touches of ELP keyboards and frantic guitar, as if the town’s inhabitants seem to be asking ‘what the hell is going on?’
Starting with a sinister MC introduction from album producer, John Bolduc, “And now. In expanded digital Hypovision. It’s time for your Programme,” we enter the manic, quirky Videosyncrasy, with Hutch’s threatening spoken words alternating with Jeff’s vocals, as slavish and hypnotic obedience to the ‘programme’ is rendered on the masses. It is a refreshingly off-kilter and progressive fragment, with Hutch’s typically acerbic lyrics, with Brendan’s repeating riffs and schizophrenic lead patterns presenting us with the feel of a ‘Twilight Zone’ episode of spiralling anarchy and societal collapse, which is then further reinforced by creepy, circus-like The Carnival of Doom section.
The band certainly rock in the powerful Falling In Line, as the public acquiesce to their expected roles in life, with exuberant and chaotic bursts of energy from the intertwining guitar and keyboards in almost a Dream Theater-style. What Once Was heralds a plaintive and reflective atmosphere, as the people look back at what their town and lives have become. Yet there is hope and a more optimistic edge to Rest Assured, as our protagonist asks others to trust him in trying to make things better. Jeff delivers some excellent and emotive vocals over more serene bass and guitar notes. It is a lovely, restive interval before Now The Sun emphasises this new common goal and renewed positivity for people to not only recapture ‘what once was’ but to look to the future as well.
Can bring the New Day.
Strong and bright and it will show you
That you can seize the day.”
Musically, it is certainly uplifting but it is more restrained and less bombastic as it could have been. The band resist the temptation to throw the whole ‘kitchen sink’ at this stage, and it is well-judged in my view, as although the music is reflecting what is possible for the townsfolk, and a ‘carpe diem’ tone, maybe it is still reflecting an uncertainty on the road to come.
The concluding instrumental And Ever After, with its repeating guitar call and then thoughtful piano and a lush keyboard wash, is a world away from the chaos and anarchy of The Agitation and the Carnival of Doom, earlier on, but maybe there remains doubt and uncertainty as to what the future holds – but we can dare to hope at least, for now…?
The Far Cry have made a significant musical statement with their second release. Once There Was is a confident and ambitious album of melodic, symphonic and neo-prog rock, that embraces the legacy of the classic era of prog but frames it all within a fresh and modern way, with an American-style prog edge to it all. There is a sense of pure joy and freedom in the way they indulge in complex, instrumental flights of fancy and signpost their past influences – and yet they manage to ground it all within their eloquent and impressive epic compositions. Lyrically, the band tackle some complex and contemporary concerns, and whilst traditional prog rock listeners will savour the cinematic, symphonic soundscapes and proggy keyboard flourishes and lyrical guitar lines, they should also enjoy the touches of eclecticism scattered throughout. Whilst the musical ingredients themselves are warm and familiar, rather than truly new or progressive…. the way they combine and arrange all the elements together certainly is! They have not played it safe, for sure. I wish The Far Cry all the very best with this exciting and immersive new release and I hope the UK prog community, in particular, will hear this ‘far cry’ loud and clear from the other side of the pond!
TRACK LISTING
01. Unholy Waters (14:09)
02. Crossing Pangea (12:38)
03. The Following (6:39)
04. Once There Was (31:05)
– i. The Rising (3:24)
– ii. Once There Was (3:57)
– iii. Dimension Of Darkness (2:34)
– iv. Gathering Of Shadows (3:22)
– v. The Agitation (1:34)
– vi. Videosyncrasy (2:40)
– vii. Carnival Of Doom (0:49)
– viii. Falling In Line (3:25)
– ix. What Once Was (1:48)
– x. Rest Assured (3:26)
– xi. Now The Sun (2:15)
– xii. And Ever After (1:51)
Total Time – 64:31
MUSICIANS
Robert Hutchinson – Drums, Percussion, Bells, Spoken Words
Jeff Brewer – Lead & Backing Vocals, Bass, Bass Synth, Bass Pedals, Guitar
Chris Dabbo – Piano, Keyboards, Vocals
Brendan Kinchla – Lead Guitar, Acoustic & Electric Guitars
~ With:
John Bolduc – MC Intro Voice (4 vi)
ADDITIONAL INFO
Record Label: Independent
Country of Origin: USA
Date of Release: 1st March 2025
