Evership

Great album. The more I listen the more I like!

When I was given the assignment to review the debut album by a progressive rock band hailing from Nashville and called EVERSHIP, I thought, “my editor has confused the term ‘prog-rock’ once again.” How can there be a prog-rock band from Nashville (home of the iconic prog-rock composer and multi-instrumentalist Neal Morse and the place I’ve visited every summer for the last three years in a row to attend the Morsefest festivals) I haven’t heard of? It seemed unlikely, but there was only one way to find out, so I obviously decided to give the album a spin. After the first three minutes of listen I reclined back in my seat and wrote an email back to the editor asking for further details or an EPK of the band. Who were these guys and how the on Earth had I missed them? What I was listening to sounded striking and certainly was not impressing me as the mere debut of an unknown collective of musicians. Well, I love surprises like this, therefore I sat back and immersed myself in the album.A little history before delving into the album’s music is in order. Evership is the brainchild of Nashville-based composer, multi-instrumentalist and producer/engineer Shane Atkinson. Many of the Evership songs were already written long before the project started. Some were five to ten years old even then, and there is purportedly enough material for four or more albums. “I’ve got other material, but I wanted to do this first. Musically-speaking, Prog is where my heart is” Shane said. While Shane ultimately surrounded himself by several additional musicians including his own brother James, the music in this beautiful record is mostly the fruit of his twitchy musical brain. He chose to play drums, keyboards (including Mellotron), and an assortment of more obscure instruments like the Theremin and Chapman Stick, but to sub-out most of the guitar and bass work to like-minded musician friends and family. And the result is a symphonic rock record that is equal parts epic and subtle; anthemic and personal; sublime and deep.Evership drinks straight from the sap of the greatest bands of the 70’s; I’m reminded a bit of Kansas, Queen, Genesis, Styx, and Yes, yet the resemblance is just a reference for the readers. The music is unpredictable and engaging: one second you are listening to a killer piano introduction with dramatic and pompous vocals and a minute later the same track shifts into an array of lush and wondrous symphonic melodies with soaring vocals and complex energetic instrumental displays. However, melody is what drives the album; the anthemic arrangements, the spiralling keyboards, driving guitars and buoyant bass lines are solely the instruments to convey the fragile beauty of the harmonies wrapped into the lyrics outstandingly sang by Beau West, who nails the vocal parts with a fantastic delivery. The music is brilliantly conceived and perfectly executed, and the juxtaposition of many synths leads and choruses accentuates the magnificent sound.This is an album comprised by only six well-crafted and uplifting songs, and the instrumental passages never overpower the lyrics or the melodies which drive these tunes, on the opposite the somewhat exercised restraint takes nothing away from the passion and intensity of the music. The panoramic artwork was illustrated by Nashville-area artist Philip Willis. Like the music, it is immersive. If you buy the CD you’ll be rewarded with that, and more so when the vinyl comes out; a double-album with gatefold cover. The album was digitally released on July 1, 2016. The vinyl is in the works and has been mastered by Grammy-award winning engineer Cameron Henry at Welcome to 1979 Studios, and they are shooting for it to be released on Record Day in April next year (2017).This is high caliber and emotionally moving symphonic rock mixed with old school prog, crafted to the ultimate detail.

Nashville rockers Evership have released their new 6 track self-titled EP; a progressive rock project that deserves the praise of music journalists and true rock music fans everywhere. In a time where the mainstream has lost its grip on dictating to audiences what’s hot and what’s not, Evership adds fuel to the fire that’s keeping independent rock music at the forefront. Serving up some of the best progressive rock music of the year, these guys are preparing to steal the hearts of fans everywhere.LYRICALLY: In the songwriting department, the genius pen of veteran Music Row producer/songwriter Shane Atkinson is on full display. You will find great storytelling and highly catchy melody writing that are sure to give rock music fans something to be excited about. While both the lyrics and melody writing are amazing, it is the melodies that stood out most to me. The melodic structures that exist throughout the EP are what brings to life the stories Evership is narrating. But, what’s even more impressive is the fact that these melodies are constructed in a way that makes every song easy to sing along with, almost guaranteeing that fans will listen to every word Atkinson has penned. It can be difficult to find a band whose songs are this good, which is why I would recommend that listeners appreciate every single word, and sing along as loudly as you can.MUSICALLY: Here’s where Evership really shines. This band is a rock music juggernaut whose audacious exploration of their instruments limitations, challenges everything you may have come to know about this genre. By using the same bold drum beds, varying tempos, thunderous bass, and in your face guitar riffs that made bands like Queen and Yes so incredibly unique and amazing, Evership is creating for themselves the potential to become legendary. As a musician, I was in awe of the musical prowess displayed by each member of the band. You know, instantly, that there are no amateurs here. I enjoyed every single composition on this EP. It is one of the most entertaining and noteworthy compilations of music that I’ve heard this year.VOCALLY: Everyone who knows me understands that I am a huge fan of great vocals. Thanks to this EP, I can now say that I am a fan of Evership. The harmonies are spot on, and the lead vocal performances are Grade A, supreme. From the moment I heard songs like “Silver Light”, “Evermore”, and “Ultima Thule”, I knew I was in for a treat. The band’s lead singer, Beau West, captured the very essence of what it means to be a professional vocalist. His voice is teeming with the same tonal richness and power of greats like Bobby Kimball (Toto), while the band’s harmonies are comparable to that of Queen. There’s no greater compliment that I can think of giving these guys than to liken them unto some of the greatest to ever do progressive rock music.Take a listen and see if you can attempt to disagree with me on this one.- Shaine Freeman for The Miews

Shane Atkinson is the man behind this album that is the work of 8 years. He composes, writes andplays many instruments, but he has received some help from others musicians. The beginning of the cdis very strong with some intense vocal harmonies and some music that is on the melodic side ofProgressive Rock with sometimes a heavy edge reminiscent of old Americain Prog with some spark ofthe British's sound of the Neo Prog bands. All this music is embellished with some lushorchestrations and choirs. The multi-part compositions go from the atmospheric to the dramatic withdazzling vintage organ and mellotron. The influences from the past are there and cover a lot ofground.The vocals and the music in the song "Evermore" are in the pure Queen style. The epic "FlyingMachine is not without reference to the band Mystery with a mix of classic rock and ProgressiveRock. The song goes back and forth between acoustic parts and electric ones. There is a nice flowthroughout the different parts of this cd. The songs contain many hooks, and also some movingprogressive rock moments that keep you engage. It's just the right balance between the simplicity ofrock music and a more complex Progressive Rock. I had the same uplifting feeling listening to thiscd of the one I had when Sean Filkins (ex-Big Big Train) released his solo cd.The man has a lot morematerial for others albums. I just hope that we don't have to wait another 8 years to hear it. Solet's take the journey to the world of Evership, you will love the ride!

This is new to me , and a great cd.

Late onto the Evership bandwagon, which is not necessarily a bad thing, as I sometimes need a little push to commit to something new. But better late than never, so it was not a difficult decision to finally take, what with all the hoopla going around for this debut release, which took eons to finalize, according to main man, multi-instrumentalist and composer Shane Atkinson from that international progressive rock hot bed of Nashville, Tennessee. Glass Hammer is also from Tennessee, so there must be something in the water…The state is of course a famed music center, albeit not world renown for prog, more like country music. Well it won’t be the first time I get shocked by the provenance of our favorite genre, as it’s truly a worldwide obsession. I mean Kansas has sort set the path way back when and even in Louisiana, we have Proud Peasant that is quite overtly symphonic, to say the least.Evership certainly dares beyond daring, a courageous plunge into bombastic symphonics that combines the obvious Queen influences or even hints of Meatloaf, highlighting rocket-propelled crunchy guitars and over the top lead vocals that tilt closer to opera and heavy metal, all ensconced within a tight score with fluctuating arrangements and impossible to predict what is next down the pipes. I cannot think of many bands that have tried this route besides Queen and perhaps City Boy, a dash of Boston maybe but this kind of opera-prog rock is quite an earful to behold. All pieces are in the 9-13 minute range, giving the suave arrangements enough room to be properly constructed and hence utterly convincing musically. Lead singer Beau West has those powerful lungs that sustains notes and scours the higher planes with seemingly minimal effort, as clearly expressed on the whopping opener “Silver Light” , serving as a perfect introduction for the proggier mayhem down the road. Choppy rhythmic power metal riffs shove this puppy along, howling choir work keeping the drums precise and a savage world class vocal that will make any prog fan squirm with envy. Holy cow! Hints of Kashmir in the stringed orchestrations, spitting guitars and tectonic shuffles, yeah, what a mix! . Nice lead axe solo that corkscrews madly and a solo violin whirl that is totally unforeseen.A prog opus of the finest caliber, “A Slow Descent into Reality” looks into the troubled human condition and explodes in a suite of 6 parts that grabs the listener by the throat and does not let go. Starting off nice and composed, the mood slowly burgeons like an imminent storm waiting to drench the unprotected. Synthesizers conspiring mightily to overpower the melody, the levels of intensity grow, the choir shoving the arrangement along. As such, hallway through, everything seems to hurtling at breakneck speed, tossing shifting and gritty guitars, colossal waves of insane keyboards (especially the orchestral ones like the mellotron and the rippling organ flash ), a booming bass undertow and some pretty volcanic drumming. This is quite the bruising ride, definitely aggressive and over the top, totally nowhere near ear candy of any kind, quite the opposite, a brittle, sizzling and effervescent fountain of dense sound design and grandiloquent instrumental prowess. This is an insane mother!“Evermore” shoots for a night at the Opera stylistic, buoyed by that singing guitar lead, the vaudevillesque piano accompaniment and crazed vocals that seem closer to lounge cabaret than the hair metal concert arena. The choir work is multi-layered, the massed guitars punching deep holes into the rhythmic onslaught, which is closer to Led Zep than anything else. But the voice, I mean Mercury Rising from the ashes….OMG! You would think the Darkness or the Ark have resurrected as a prog band. And there’s the rub, as the Brits like to say, Evership is decidedly within the prog environment, more keyboard-driven that any other bands mentioned above.This becomes very obvious on the enthralling “Ultima Thule”, a serene ballad that really showcases the brilliance of a world class voice and an elusive piano, caressed by bright orchestrations and a rustic acoustic guitar to further the fantasy. As the piece progresses, the resolute power gets boosted by harder rhythm guitar riffs and wilder singing that winks more at Ronnie James Dio or Roger Hodgson than the proverbial Freddy. The final section gets very progressive with loads of clever symphonic touches and unrelenting choir work and a gentle guitar goodbye.Then we move over to the sensitive “Flying Machine”, a more complex piece that takes time lifting off the ground, engines roaring (the choir voices are splendid) , preferring to travel to more atmospheric realms with loads of sound/voice effects and snippets of strange strained orchestrations. Perhaps by presenting their more obscure side, this sonic essay does wonders as it slays any kind of overt formulaic tendencies. When the song kicks in, Beau’s soft voice soothing preciously as the drums pick up the pace and the guitars start their sinuous assault, never falling play to simpleton clichés. This is by far the most restrained piece here, a highly cinematographic glide into the higher echelons of prog creativity.A delightful debut that bodes well for the future. Hopefully, Sean has a vault full of more impulsive tunes ,ready to be put onto tape and fed to hungry prog fans. An invigorating addition to my collection and something that could easily seduce the embryonic progressive rock fan into delving further into our genre. Truly impressive, no wonder it has come so highly rated.

EVERSHIP sonne comme un hommage aux pères du Rock Progressif. Les aficionados du genre y (re)trouveront leur compte et leur jeunesse, le modernisme du son en plus.