In a bid to be a package of endless surprises, the ‘progressive’ genre of music can at times turn itself on this quest. The music, in experience can be new to a listener in sound, but not really in essence. By all means, what we derive from music itself can end up being repetitive in essence and in terms of how one might feel the music. But that isn’t necessarily a bad thing. It gives us expectations for the better or worse. It gives us a way to look at the music and pick what we like. The problem really is with liking a genre and entirely adhering to becoming what makes the genre stereotype. It’s progressive music in this case.
Lonely Robot’s newest offering ‘The Big Dream’ is a package of every progressive rock stereotype for the most part. As a ‘prog-snob’, if I may, you’ll probably dig this record. It’s got everything that’s essential to prog-rock music – from meter changes to a variety of synths, complex rhythms, great guitars etc. All of this topped with some excellent musicianship. But in the end, it’s the same stereotype repacked for your listening pleasure. In terms of composition and creativity, it’s as original as it gets. It’s the stereotype of prog music that essentially drains the more human or ‘romanticized’ feel that music might offer. This is a great album and everything on the record speaks volume of potential, but the album is a little far off from being memorable.
‘The Big Dream’ isn’t a concept album, but it has a central theme to it. There’s an idea to follow, coupled with a good narrative. The music adds colour to the storytelling in the record, but is void of life. The album opens with “Prologue (Deep Sleep)” which essentially opens up the story with a very spacey science fiction vibe to it. The narrative of the record opens up here. Essentially here on, it’s a struggle of a storytelling session. “Awakenings” is the song that marks the start of the prog rock idea that we’re all too familiar with. Dark guitar tones layered with some interesting keys coupled with a sold rhythm section and topped with some wonderful singing. It’s one thing to get excited about the sounds so far and it isn’t that exciting to know that rest of the album will in some sense feel the same, though not sounding the same.
“Sigma” seems to have a weird vibe to it. While the rhythm sections feel a little ‘happy’, the leads have a very serious mood to it. It’s a little disconnecting at first, but the song proceeds to feel a lot better and more definitive later on. “In Floral Green” has a warm and inviting appeal to it. The drums add a certain pace and interesting groove to the moods that rest of the instrumentation and vocals create. This has to be one of the finest songs off the record, if not the best. This song stands out for being very individualistic on the album. It isn’t an overloaded buffet plate. It’s just brilliant.
“Symbolic” is a lively song. The work on the drums and the rhythm sections are commendable. This is one song that can take in all the ingredients of the prog-rock stereotype and make it thoroughly enjoyable. The little parts on the record affect this song in big ways. “The Divine Art of Being” is another brilliant track off the album. This has to be among the finest from John Mitchell’s discography. There’s a lot of life in this uplifting song. The drums add tension to the intricate layering by rest of the instrumentation and make up a great rhythm section to back the guitar solo.
“The Big Dream” is a heavy track. The synth work on this song is superb. The song tries to bind into itself the feeling of suspense and anxiety. It’s easy to blend into this song and get a good feel of it. “Hello World Goodbye” beings to bring the album to an end on a more melancholic mood. This song is a great contender to being the best song on the album and from all of Mitchell’s discography. It’s a good transition to the next song, and it helps being the album to a slow and steady end. The record ends with “Epilogue (Sea Beams)”, an ambient and airy song with a lot of colourful piano and string sections. To put it simply, it’s a feel-good song.
‘The Big Dream’ by Lonely Robot is a record of every essential prog-rock stereotype. If it’s a quick and heavy dose of prog-rock music that you’re looking for, then look no further! This record has its ups and downs. Some of the songs sound very mechanical and lifeless, so to speak, while the others sound alive and there’s a lot to offer even in their relative simplicity. I wouldn’t say that this record has a general sense of direction despite having a loosely attached theme to it. I guess Mitchell lost his way somewhere in the creative process.
The album by itself doesn’t feel complete and within itself – it feels conflicted. It isn’t a terrible thing to feel a little lost in the creative process. It lets you know that you can still find yourself in what you do. The production and music is full of insane potential. This speaks a lot in regard to what Mitchell is capable of doing in the future. There’s a lot of promise personally and individually as a musician, Mitchell shines. It’s just that this album was a hit and miss. Nonetheless, Lonely Robot will probably be back with something spectacular, emotional and human.