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Evership | Evership

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Rock: Progressive Rock Rock: Classic Rock Moods: Mood: Dreamy
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by Evership

Debut album from Nashville-based Progressive Rock band delivers powerful but approachable Art Rock. Musically sublime from epic to elegant, lyrically poetic. This is that "why don't they make music like this anymore" album.
Genre: Rock: Progressive Rock
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  Song Share Time Download
1. Silver Light
9:26 $1.99
2. A Slow Descent Into Reality (I: Everyman / II: A Slow Descent / III: Wisdom of the Ages / IV: Honest with Me / V: The Battle Within / VI: Anyman)
12:39 $1.99
3. Evermore (A: Eros / B: Agape)
10:09 $1.99
4. Ultima Thule
10:28 $1.99
5. Flying Machine (I: Dreamcarriers / II: Dream Sequence / III: Lift)
13:44 $1.99
6. Approach
1:58 album only
Downloads are available as MP3-320 files.


Album Notes
Nashville-based Progressive Rock band "Evership" blends Progressive with Classic/Modern Rock to create a unique approachable sound that will appeal to both Prog/Art-Rockers and anyone who enjoys immersing, artful music.



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Everything you love about prog rock - and nothing you don't.
In today’s musical climate of inexpensive recording costs and multiple free distribution channels, it’s never been easier for bands and artists to create and share their art with the world. But with equal access and opportunity comes exponentially more “noise”, which, for the music fan, can make for a painstaking process in finding music that truly lives up to the quality and “magic” their soul perpetually longs for.

Or, at least, that’s been my experience - which is why my recent discovery of the self-titled debut from Evership stands out as a brilliant, sparkling gem among a vast sea of fools-gold.

Nearly ten years in the making, Evership is a collection of wondrous musical journeys, skillfully composed and engineered by bandleader and multi-instrumentalist, Shane Atkinson. Upon hearing the moody choir arrangement of the opening track, I was instantly drawn in, as it was clear to me that this was the kind of album that would require my undivided attention - and much to my delight, I would soon learn that it deserves every second of it.

Perhaps the most anthemic track on the album, “Silver Light” sets up the pace nicely with its driving and memorable arena-rock guitar riff, accompanied by dazzling analog synthesizers and orchestral stabs weaving in and out. While the music wastes no time in making a strong statement, equally impressive is the bold, dynamic voice of Beau West, whose vocals strike an immediate chord with the listener and seem to fluctuate effortlessly from pure and intimate, to raspy and guttural. Unlike many prog rock bands where the vocals often take a backseat to the music, Beau’s powerful vocal range is equally on par with the music, providing the necessary lift and thrust needed to elevate the band’s weighty ambitions high into the atmosphere.

The multi-part “A Slow Descent Into Reality” takes a somewhat sharp turn from the opening track, which opens with a piano ballad that would easily fit onto Elton John’s Goodbye Yellow Brick Road. But just when you think you know where it’s going, the song quickly dives down an unexpected rabbit hole full of complex arrangements, featuring everything from delicate acoustic guitar passages, to majestic choral arrangements, to a frantic, organ-driven jam section with plenty of odd-time signatures. Perhaps most satisfying, however, is Atkinson’s whirling Mellotron dervish starting at the 9:50 mark, which builds into a haunting King Crimson-style crescendo.

Having gained your trust with the firm foundation laid by the first two tracks, Evership invites you into deeper waters with “Evermore”, the first movement of which begins with a dark and dissonant overture featuring some stellar lead guitar work from Shane’s brother, James. A delicate piano and vocal movement follows, showcasing a gentle and more vulnerable side of Beau’s voice as he gracefully mimics the pensive piano melody playing underneath him. But the standout section of the song is clearly the second movement - “Agape” - with its heart-tugging chorus of, “Worlds apart, seal your heart, say that you’re mine”, which you’ll easily find yourself singing at the top of your lungs each time it rolls back around. Also noteworthy is Shane’s keyboard solo starting at the 7:52 mark, where he tips his hat to Tony Banks of Genesis, along with a soaring follow-up guitar solo from James.

By the time you’ve reached “Ultima Thule”, there’s no turning back - the “Evership” has long since left the shore and is deep into its mystic voyage across the sea with no land in sight. This slow-burner is arguably the centerpiece of the album, and while it may require a bit more commitment for some to listen to, there are plenty of payoff moments throughout. By this point, Atkinson is utterly confident in his songwriting abilities and presents a more nuanced approach, replacing flash and chops with complexity and depth (a great example of this being his intricate drumming at 5:34). Beau West’s layered vocals are tinged with emotion, becoming more and more engaging as the song continues its gradual climb.

The band wraps up the album on a strong note with what will likely be the fan favorite - the prog-tastic “Flying Machine”. Here, Atkinson demonstrates the full weight of his engineering and production prowess with Alan Parsons-like precision, complete with swirling effects, character-based voiceovers and the sound of the flying machine itself - which nearly sounds like its own instrument. For me, this song has such an innocent magic to it, which immediately conjures up many of the same feelings I had as a child upon discovering albums like Rush’s 2112. Particularly, the recurring line, “Are you sure you won’t fall down?” has such a familiar and reminiscent vibe to it, you’ll swear you’ve heard it somewhere else before. Simply put, “Flying Machine” is pure nostalgic bliss, and as you let it whisk you away into its strange and fantastic world, you’ll find yourself longing to return over and over again.

To label Evership as “progressive rock” is equal parts accurate and unfair. On one hand, the musical influences are undeniable, with several nods to prog pioneers such as Rush, Yes, The Moody Blues and Queen (check out the 6:48-7:14 section of “Silver Light”, featuring some snarly, Roger Taylor-esque vocals from Beau West, followed by a glorious climax in the spirit of “Bohemian Rhapsody”). On the other hand, the music never falls prey to the often inherent pitfalls of prog (self-indulgent soloing, meandering interludes, obscure and unrelatable lyrics, etc.). Instead, the band somehow manages to easily straddle the line of presenting a timeless and remarkably accessible record that never feels pretentious, all while dressing it up with a familiar and nostalgic tapestry.

In a world where aging bands are struggling to relive past glories, while modern bands are still trying to find their soul, Evership is a refreshing reminder that, “Yes - they *do* still make music like that.”