The State Of The World sees Statistical Blip refining their sound with a fully conceptual approach, offering a striking critique of humanity’s impact on the planet. Their debut, Out On A Limb, may have flown under the radar, but this time, their blend of classic rock laced with a healthy dose of progressive elements feels more deliberate and expansive. The album’s striking cover art reinforces its themes, setting the tone for a thought-provoking listen.
Before diving into the review, a step back to the mid-80s feels necessary. At that time, a band from my region released two albums—Early Warning under the name Holland, and Contract With Hell under Hammer (the name change resulted from a clash with another band). Falling loosely under the NWOBHM umbrella, they certainly carried weight, but what truly set them apart was the strength of their song-writing. Tracks like Liar, No Chance, Hey You, and Across The Line stood out, and I seem to recall a track called Move Your Hand with a killer riff — though it doesn’t appear on either release.
Jumping ahead forty years to bring this story full circle, the vocalist behind both bands, Martin ‘Doggy’ Wilkinson (it was a Martin thing), now forms one half of Statistical Blip. Settled in Spain’s Almería province, he crossed paths with another expat, another Martin, no less, Martin Pointon 😉. Originally performing as a four-piece cover band, their setlist featured classics from Rush, Pink Floyd, Jethro Tull, Atomic Rooster, Yes, and The Who. As their popularity grew, they began weaving their own material into the mix, carving out a distinct musical identity beyond their influences.
As its title suggests, The State of the World is an unapologetic critique of the planet’s current condition – greed, corruption, and the paradoxes that shape our often unjust reality. Drawing heavily from recent global events, the album spares no punches, delivering a ‘no holds barred’ condemnation through its sharp, biting lyrics – introduced in track one and carrying through the entire record. Musically, the album launches with a relentless pulse of guitar riffage, layered over a solid, driving rhythm. The foundation is set for the lyrics to make their impact: “There’s no honour, there’s no truth, No moral leaders, no innocence of youth.” The message lands with force, followed by an even more scathing observation: “There’s no wisdom, there’s no wit. But we’ve got politicians who are so full of shit.” From the outset, it’s clear this album isn’t pulling any punches.
Musically the band also deliver and circa two minutes in, the music flexes it’s progressive muscle with the odd metering underpinning the lengthy keyboard workout. The stage is set as the track unashamedly and pointedly returns to its concept, here challenging the people to raise their voices “Get out on the streets if you want to be heard, and make sure you shout, Get them out!”
Good Man, Bad Man heralds in the first of three 9+ minute tracks, opening with a wash of swirling analogue strings and resonant bass, before stabbing keyboards and a punctuated rhythm form the structure for the verse. The challenge here is aimed fairly and squarely at the US and the present incumbent in chief. Foreign wars waged, atrocities committed with the burning question “Well who the hell gave him those arms?”. Well if there’s profit in it… I’m sure you get the picture. With such a bleak backdrop there may be a suspicion that the music will also bleak. Not so, and musically we have a rich tapestry of sound with resounding synths and melodic guitar the order of the day. Vocally Martin Wilkinson delivers with shades of Steve Perry and or Roger Daltrey…
Symphonic arpeggiated strings and harmonized guitar usher in Something In The Water, likely my standout track from the album, along with the closing track. The song takes a sharp jab at the shallowness of the human psyche, with Martin Wilkinson’s lyrics cutting straight to the core. The contrast between vapid ‘Reality Shows’ – perhaps the most ironically named genre on television – and the brutal realities depicted in newsreels serves as a stark reminder of modern desensitization. The third verse puts much into focus:
And someone somewhere on this earth will die through lack of food,
There must be something in the water,
It all seems very strange to me.
One thing that becomes undeniably clear here — and something I haven’t emphasized enough — is Martin Wilkinson’s vocals. Always strong, they take centre stage on The State Of The World, asserting his presence with conviction. Within this well-crafted melodic framework, he cements himself as a top-tier performer.
With the word count creeping toward 1000 and much of the album still untouched, it’s time to switch gears. Below are just a few scattered notes from my review process:
Random Notes:
– A loose connection to the socio-political themes of last year’s A Memory Of Our Future by Mándoki (Soulmates), with Leslie’s lyrics tackling similar issues.
– A possible vocal comparison to Chris Thompson.
– Echoes of Pete Townshend and Roger Daltrey in the lyrical approach, concept, and overarching themes. Is he a good man? Is he a bad man?
– A parallel to Charlie’s Kitchens Of Distinction album from 2019 and Terry Thomas’ blunt take on celebrity culture – aptly titled Shit TV 😉.
– …and plenty more.
But an album of this scope demands special attention to its grand finale — a sprawling 19-minute closer that encapsulates Statistical Blip’s distinctive sound. The instrumental introduction features lush strings, a tight rhythm section, and thematic guitar work. As the track unfolds, the music grows increasingly urgent, with hungry riffs and punchy bass lines. Then, at the six-minute mark, calm descends – a transition into Waters-era Pink Floyd, complete with a soulful bluesy solo. The atmosphere is immersive, almost hypnotic… until…
WTF! A sudden shift morphs the song into something entirely unexpected, a folk-rock/country-rock detour reminiscent of The Traveling Wilburys. The first time I heard it, I genuinely thought I’d hit a button and skipped to a different track, or even another album. But with repeated listens, the brilliance of the unexpected becomes clear. The band embraces the curveball, injecting humour into the moment. The instrumental break intros: “Play it again, Don” followed by “Play it, Elon” are pure gold. Light-hearted as it may seem, the underlying message remains intact.
Then, the tolling bells return. Driving bass and inventive drumming pull the song back toward prog territory, circling back to the earlier tranquillity before culminating in a rousing finale. Check it out.
For someone who predominantly leans toward instrumental music, The State Of The World proved to be a refreshing diversion. Statistical Blip’s unfiltered, say-it-as-it-is approach resonated deeply, making this an album worth revisiting. Great songs, intelligent lyrics, and a bold, uncompromising vision. Heartily recommended!
TRACK LISTING
01. Welcome To The Real World (6:38)
02. Good Man, Bad Man (9:03)
03. Something In The Water (9:34)
04. Going Through The Motions (9:59)
05. The State Of The World (19:11)
Total Time – 54:25
MUSICIANS
Martin ‘Doggy’ Wilkinson – Vocals, Guitars, Bass, Keyboards
Martin Pointon – Drums, Percussion, Production, Artwork
ADDITIONAL INFO
Record Label: Independent
Country of Origin: Spain [UK]
Date of Release: 24th May 2025
LINKS
Statistical Blip – Facebook | YouTube | Instagram | Available on various Digital Platforms
