On last March’s Cruise To The Edge, one of the buzzier bands performing was Canada’s Crown Lands. Both my friends with whom I travelled were excited to see them, and as a result, so was I. While this was to be my first introduction to the band, they have been around for a while. The duo of Cody Bowles (lead vocals, drums, percussion, flutes, didgeridoo) and Kevin Comeau (guitar, bass, bass pedals, keyboards, backing vocals) have performed together since 2015. Apocalypse is their fifth full-length studio album.
When the time came for them to perform, I literally had no idea what to expect, especially since they perform as a duo. I had heard the Rush/Led Zeppelin comparisons, and those estimations are not off the mark. Bowles’ voice can be an echo of Geddy Lee’s earlier days and Comeau’s fretwork owes an obvious debt of gratitude to Alex Lifeson and Jimmy Page. Live, there is an incredible chemistry between the two musicians, and their ability to create a full sound is impressive. My feeling at the time was that Crown Lands was a duo with incredible talent and promise, if only they could find their own original voice. Apocalypse is a step in the right direction.
Opening with the instrumental Proclamation I, the band shows their atmospheric side, featuring mellotron choirs, synths, and martial drums. This short piece is a glorious introduction to the heavy side of the band. Foot Soldiers Of The Syndicate is full of ferocious, hard-rocking rhythm and delicious drum fills. Unfortunately, the vocals head straight into Geddy Lee territory, where Bowles tends to lose clarity as a singer. The lyrics, good as they are, are often unintelligible when sung in such a strangled, histrionic manner. Even the guitars feel straight out of 2112 at times. Considering the song is about an oppressive government and its subservient citizens, the arrangement hits a little too close to home. What the song lacks in originality, it makes up for in energy and enthusiasm, so it’s easy to give the band a pass. Through The Looking Glass begins with 12 string acoustic guitar and synths, but this is no wimpy balladry. Bowles sings beautifully until the electric guitar overtakes the chorus with power chords and the vocals respond accordingly. This is what I had hoped to hear vocally, as Bowles avoids sounding like the sum of their (Bowles’ preferred pronouns being they/them) influences and settles into a more natural tone. As a result, the song succeeds on its own merits and showcases the duo’s command of dynamics.
Blackstar’s standout bass riffs anchor this tuneful piece, but it’s the variety of guitar tones that make this one a winner. Comeau’s solos put the guitar front and centre to the song’s benefit. Synths are using sparingly, thus having more of an impact. The drumming is heavy without being overbearing, leaving room for Bowles’ soaring vocals to showcase their own range and tone.
As if to prove that he can move beyond Page and Lifeson, Comeaux introduces his affinity for David Gilmour riffing in The Fall. Even so, there are so many layers of guitar here that the astute listener is drawn to a multitude of six string dimensions. The leads are short and effective. Again, this sort of song construction allows Bowles’ voice to come to the fore, and they do not disappoint with a strong and radio-friendly melody. Finally, the duo retreat from their harder edge for an acoustically driven change of pace on The Revenants I. The song wisely maintains a simple arrangement, highlighting Bowles’ upper register and orchestral synths, including a haunting cello part. The song is proof that when the duo stay true to themselves, the material rises above. The flute coda, coupled with tubular bells, sends the song into bliss territory, making this one of the album’s highlights.
Which brings us to the album’s epic centrepiece and title track, Apocalypse. Ominous synths mingle with the sound of wind to introduce descending power chords. The fingerprints of Rush’s Xanadu are evident to varying degrees, and the drums pan the stereo spectrum before surrendering to a broader palette of sound. The songwriting is strong (although there are several moments of “name that influence”), and the arrangement gives space for each instrument to breath. Bowles’ voice is in top form and avoids the obvious pitfalls, wrapping itself around the instruments like a warm blanket on a cool day. These moments of the duo performing in their own voice lift the song. The flutes add another welcome dimension to the song along with the stop/start rhythms, emotional guitar leads, cool synths and broad dynamic range. As the music lets up, the mellotron underscores Bowles’ Jeff Buckly vocal influence (certainly not a bad thing in this reviewer’s mind). Apocalypse goes though enough changes and great ideas to justify its nineteen minutes, and its dark ending sends the song into an abyss. But whether that space holds hope or despair is for the listener to decide.
Crown Lands provides plentiful evidence on Apocalypse that they are a band to keep an eye on. As they mature in their songcraft they will begin to absorb their influences, rather than wearing them on their sleeve. I might have been late to the party, but Apocalypse is an album that makes me want to stick around to find out what happens next.
TRACK LISTING
01. Proclamation I (1:22)
02. Foot Soldiers Of The Syndicate (4:20)
03. Through The Looking Glass (3:45)
04. Blackstar (4:00)
05. The Fall (4:31)
06. The Revenants I (5:29)
07. Apocalypse (19:01)
Total Time – 42:28
MUSICIANS
Cody Bowles – Vocals, Drums, Percussion, Ney Flute, Pentatonic Flute
Kevin Comeau – 6, 12 String Electric & Acoustic Guitars, Bass, MiniMoog, Oberheim OB6 Synthesizer, Taurus Pedals, Mellotron
ADDITIONAL INFO
Record Label: InsideOut Music
Country of Origin: Canada
Date of Release: 15th May 2026
LINKS
Crown Lands – Website | Facebook | Bandcamp (InsideOut Music) | YouTube | Instagram
