Edensong is not the most prolific band in all of Progdom. Formed in 2004, the first album by the band was released in 2008. A live/studio disc followed in 2010, then the magnificent Years in the Garden of Years in 2016. In an interview earlier this year, guitarist/vocalist James Byron Shoen explained that “a lot of life happened in the interim”, from pandemics to families and personnel changes. It has taken till 2025 to get a new album from this NYC-based band, but rarely has a wait been so worth the time.
Edensong are definitely a thinking man’s band. With complex music that covers all the bases influence-wise and lyrics that reference everything from religious traditions to mythology to deep personal issues, this is not a band that invites casual listening. The more I spun this disc, the more it grew on me and reached into my core. There were several times I set out to write about Our Road To Dust, but each time I was compelled to listen just one more time. Dust is an album rich in substance, thick with texture, and clear-eyed in its takes on life, love and music.
The short instrumental opening track, Of Ascents, is gentle, melodic and serene. Each repeated section builds upon the last by adding another layer of acoustic guitar, until The Illusion Of Permanence blows the doors off the hinges, as if some metal album just possessed your folkie album. Full of angular riffs and odd-metered time signatures, the savage attack melds with spot-on harmonies to reveal what Tull might have sounded like had they actually been a heavy metal band. Lyrics like “It’s dark down here at the bottom/I miss the light at the top” give you an indication of the despair mixed with a small measure of hope the song proffers. The instrumental interlude features a mournful flute solo (courtesy of Barry Seroff) over punishingly relentless music. In the final minute, the air and sunlight appear for a quieter denouement. These Old Wounds begins with TD Towers’ ominous bass riff and Seroff’s flute which heighten the sense of hurt. The music is restrained one moment, unleashed in the next. The vocal harmonies are particularly delicate, all the more so when the music breaks out. ”Your words of wisdom almost killed” is sung over music that sounds justifiably vicious, complex, and filled with jaw-dropping moments.
An a capella introduction gives way to a heavily percussive tune on Black Crow, where drummer Nick DiGregorio shines like a supernova. Guest keys and synths from Kyros’ Shelby Logan Warne add another flavour to the stew. The tune is beautifully constructed, with multiple vocal lines vying with the flute and percussion for dominance. The song ends with a surprising acoustic guitar coda that sounds as if it could have been lifted from an early Paul Simon solo album. “When did this place become a hall of statues and not a living, breathing home” sets the mood for the lyrically bitter Hall Of Statues. The music veers between in-your-face rock, and deceptively quieter flute-led moments held down by a knotty rhythm. Part of the band’s genius is their ability to cover so much ground musically in five minutes, making it seem not just logical but inevitable. Book Of Complaints opens with a Dream Theater style assault before yielding to vocals which take center stage. I could not help but think of how easily this could fit on My Chemical Romance’s Black Parade album, which is intended as a huge complement. Pop sensibilities mingle with hints of emo and even Broadway for an incredibly satisfying tune.
The next two instrumental tracks beautifully capture the depth and breadth of Edensong. A flute rendition of the opening track is no mere copy. Rather, Of Ascents (Reprise) turns the guitar piece on its head with an eerie, discordant undertone. Wykkr Basct, on the other hand, is another ferocious assault. Machine gun rhythms introduce a study in contrasts. The violin of guest artist Chris Baum struggles with Seroff’s flute for the more interesting lines, all while guitar, bass and drums fight it out beneath. So much energy is expended, you almost feel exhausted by the time the song is over.
Shoen’s folksy guitar and vocals are underlined by Warne’s mellotron in the title track, Our Road To Dust. The music gains power and momentum as the song progresses. The combination of flute and violin once more alternate between aggression and pastoral beauty. After so much heaviness throughout the album, the acoustic moments have a particular resonance, giving a bright lift to the meticulous arrangements.
The eight years spent between records was time well spent, and Our Road To Dust is a magnificent achievement. Each song is lovingly crafted, a combination of progressive might and intricacy but with the pop sensibility of how to build an earworm. Edensong’s Our Road To Dust is an album and band deserving of much wider attention. The more you listen, the better it gets.
TRACK LISTING
01. Of Ascents (1:36)
02. The Illusion Of Permanence (6:10)
03. These Old Wounds (6:36)
04. Black Crow (4:51)
05. Hall Of Statues (5:27)
06. Book Of Complaints (3:27)
07. Of Ascents (Reprise) (2:02)
08. Wykkr Basct (3:48)
09. Our Road To Dust (7:56)
Total Time – 41:53
MUSICIANS
James Byron Shoen – Vocals, Electric & Acoustic Guitars, Portuguese Guitarra, Six String Banjo, Keyboards
TD Towers – Vocals, Bass Guitars
Barry Seroff – Flute, Bass & Alto Flutes
Nick DiGregorio – Drums, Percussion
~ With:
Chris Baum – Violin (8 & 9)
Shelby Logan Warne – Mellotron (9), Keyboards, Sequencing (4)
Stefan Paolini – Piano (5)
Robby Schwartz – Additional Backing Vocals (9)
John Wigler, Emily Fox, Alana Rosen – Additional Vocals & Sounds (4)
ADDITIONAL INFO
Record Label: The Lasers Edge
Country of Origin: USA
Date of Release: 9th May 2025
LINKS
Edensong – Website | Facebook | Bandcamp | YouTube | X | Instagram
