Cosmograf’s newest release, The Orphan Epoch, is a departure from past efforts. Rather than the usual concept album, the songs are loosely connected by themes of nonconformity and choosing to find one’s own path in life. Says mastermind Robin Armstrong, “I can’t even tell you where the songs came from, but they just arrived and seemed to want to tell a story themselves….I wanted these songs to exist in their own time and space.” In that regard, he succeeds magnificently, as each song has its own identity. What is particularly striking to me is Armstrong’s growth as an artist. His skills as a songwriter, vocalist and instrumentalist seem to grow in depth and breadth, and The Orphan Epoch beautifully showcases that evolution.
Division Warning opens the album with an elegant, classically-tinged piano introduction that is quickly subsumed by a forceful rhythm and a wordless vocal. The piano responds by moving into a dark minor key. When the vocal enters two minutes in, it brings a biting guitar sound as its companion. The rhythm guitar part is notable for its crunch, and the lead guitar matches its intensity. Kyle Fenton’s drums lock in with Armstrong’s bass to create a formidable rhythm that powers the song. Throughout there are barely heard sounds which nevertheless have a noticeable impact on the song, such as synth strings and tinkling percussion, which feel at odds with the overall sense of dread. Details such as these demand your attention and draw you in.
As piano and organ create the structure of We Are The Young, the guitars add colour and dimension. Armstrong’s vocal tells a sombre tale of bullying at school. The playground noises and lalala chorus stand in stark contrast to the darkness of the lyrics, which even still offer a sense of rising above: “Leave the school back in the day / You don’t need to pass a test to make the grade / To beat the best”. Halfway through, a thunderous drum and bass tattoo create a safe space for Armstrong’s lead to rip an emotional hole in the song, made all the more poignant by the organ accompaniment. The song stays solidly in common time, but the individual instruments feel off kilter and confused, like children who cannot understand why others are picking on them. The shifting moods and tempos serve to deepen the song’s interest, making this one of the finer songs in the Cosmograf canon. Peter Jones’ plaintive sax opens Seraphim Reels. Armstrong uses his upper vocal register to emphasize the song’s sense of loneliness and abandonment as he sings, “Hold on to that scene / The film your mind is playing is not real”. The lead guitar is reminiscent of vintage Gilmour in that it is built not to impress with flash and speed, but rather to set or reinforce a mood. Who needs shred when you can play emotionally? Jones’ sax is used sparingly enough to make an impact. It is left to the drums this time to add some dazzle, but even they do so in a restrained manner.
Acoustic guitar introduces lead single Kings And Lords, promising some lighter fare until the return of the crunchy guitar and ahs that border on a metal feel. Once again, that notion is upended as the vocal section ushers in a gentler melodicism, but the lyrics still have some bite: “Kings and lords should really be ignored / Your world is where you should invest”. The song veers between light and shade, setting up a wah-wah guitar solo that would make Uriah Heep’s Mick Box smile with appreciation.
Throbbing bass synth and piano continue the minor key approach on You Didn’t See the Thief. Vocals at centre stage serves two purposes: to highlight Armstrong’s skills as a singer and to let the air in. In contrast, the rhythm guitar feels very Black Sabbath at times, the dichotomy working in service of the song, adding depth and interest. Empty Box takes the tempo down a notch. Its 6/8 time is perfect for the piano and drum accompaniment which push the song forward. When the song begins to build midway through, it does so without altering the mood. Another striking guitar solo caps one of the finest songs on the album.
The Road Of Endless Miles closes the album with layers of guitar, both acoustic and electric, carrying the song. Like its predecessor, it finds a mood and commits to it. When the piano takes the lead, it does so with a haunting synth behind it. Melodically, there are more twists than with the prior vocal turns. While the song does not make full use of Armstrong’s vocal talents, he knows when to stay in the cruising lane for maximum effect.
As previously mentioned, The Orphan Epoch revels in Robin Armstrong’s many talents. A casual listen might have one wondering what is different or special about this album. Cosmograf has a sound and mines that vein for all its worth. Repeated close listening on the other hand reveals what a musical treasure Armstrong truly is. This album seems to be a start to hearing him break away from the formula. Whatever lies down the road, it promises that wherever Cosmograf goes, quality and abundant talent will be along for the ride. So will I.
TRACK LISTING
01. Division Warning (6:56)
02. We Are The Young (9:53)
03. Seraphim Reels (6:33)
04. Kings And Lords (5:47)
05. You Didn’t See the Thief (7:19)
06. Empty Box (5:19)
07. The Road Of Endless Miles (5:30)
Total Time – 47:17
MUSICIANS
Robin Armstrong – Vocals, Guitars, Keyboards, Bass
Kyle Fenton – Drums, Backing Vocals
Peter Jones – Saxophone (3)
ADDITIONAL INFO
Record Label: Gravity Dream Music
Country of Origin: UK
Date of Release: 23rd May 2025
LINKS
Cosmograf – Website | Facebook | Bandcamp | YouTube | X | Instagram
