http://www.heraldextra.com/entertainmen ... 3f9ef.htmlWith its release of "The Mission," the band's first studio album in 14 years, Styx embraces the conceptual themes of its past while boldly exploring the final frontier.
As it turns out, the album -- which sonically chronicles the as-still-yet-fictional first manned mission to Mars in the year 2033 -- is quite a trip.
The record received its genesis about two and a half years ago when guitarist/vocalist Tommy Shaw was fleshing out musical ideas surrounding a little guitar riff and chords he had come up with in his dressing room one night that he had recorded on his iPhone. Nobody was more surprised than Shaw when the lyrical phrase, "Now I can say in less than a day we'll be underway on our mission to Mars" was the first line that popped into his mind.
After turning it more into what would become the last song on the album, Shaw sent it to longtime collaborator Will Evankovich.
"I knew he wouldn't laugh," Shaw said in an email interview. "Not only did he not laugh, he sent me his demo of 'Locomotive.' I was blown away, and I think we both recognized that these seemed like bookends to something very interesting."
Around the same time, Shaw said, he wrote an early version of "Hundred Million Miles From Home," a song that fittingly also would become the third cut on "The Mission."
"It had verses that were not right, but the chorus and middle eight were what you hear now," Shaw said. "Verses were rewritten a couple of times before it passed muster, but now we were getting somewhere! Remember, Styx was performing 120 shows that year, and Will was performing a full schedule with The Guess Who, so this was in between road trips."
Despite the progress on their exploratory "Mission" efforts, Shaw said he and Evankovich still kept things to themselves.
"We played it for no one," Shaw said, "because, well, think about it -- 'Hey, everyone, wanna make an album about a mission to Mars?' We were determined to make it make sense, sound good and draw you in -- not make everyone question your sanity."
The songs were all new -- except for a few progressive instrumental bits in "The Red Storm" that dated back to things Shaw and Evankovich were working on five years ago.
"The music was flowing, telling us where to go next. It was so satisfying," Shaw said. "That's another reason we kept it under wraps -- so that it did not become a 'project,' under the pressure and scrutiny that naturally happens."
Shaw said that it was with great deliberation that they finally decided the time was right to "give our bandmates an opportunity to join in the fun."
"The demos were really good presentations of the ideas, but we'd been working in isolation. We had no way of telling how they'd react," Shaw said. "But I'd say they were pleasantly surprised as the demos made their way among the rest of the band."
While it may seem like a contradiction, my personal takeaway after listening to the album on a near daily basis for the past month is that it is both classic Styx and at the same time, nothing like the band has done before. It certainly hearkens back to the time period of "The Grand Illusion" (which turns 40 next month) and "Pieces of Eight," with their stellar harmonies, grand concepts and rocking vibe, but "The Mission" literally launches the band into previously uncharted territory.
You know how when a band has a first real breakthrough album, and their next record semi-duplicates the recipe for the initial success with a similar style and range of songs? Well, I find no such frame of reference in "The Mission." Musically, this record stands alone in the Styx canon.
"It's been a long time since we wrote the music for those earlier albums," Shaw said of "The Grand Illusion" and "Pieces of Eight," "but certain things are timeless, like people in their everyday pursuits, wherever they are. So, initially, it seemed like songs about a manned mission to Mars might seem cold and technical. But it's the human story that's always been at the core of Styx music. Fleshing out the lyrics to 'Locomotive' was that revelation and made me remember that this is something Styx is good at. So while the songs are definitely unique, exploring life's challenges to the human spirit is as Stygian as ever. And when you join our voices in the choruses, we can't help but be who we are."
Keyboardist Lawrence Gowan was the next to get fully involved. He replaced the demo keyboard tracks with the vintage synths that he envisioned.
"He jumped deeply into the writing process immediately," said Shaw, "taking a rough framework of 'The Greater Good' and turning it into the elegant song you hear on the album. We were so inspired, we all agreed to try a little nod to Queen in the middle eight with the big baritone, 'We will be saved!' And it was a keeper! That led to the guitar solo. The opening Lawrence Gowan first verse vocal was sung that day, and it is the one you hear on the album. His first take.
"It was so exciting to feel the support and enthusiasm of the rest of the band. The ideas started to flow and it remained that way all the way through completion. Some rumors got out, but all we had to do was say, 'Have you seen our tour schedule? Where's the time to make a new album?' End of discussion."
While rumors of the band working on new material did pop up occasionally over the past couple years -- something that was even vaguely confirmed with no timetable by members -- no one foresaw a full concept album, and certainly not one based on a space exploration theme, coming from the band. The official preview announcement on April 21, pretty much took everyone by surprise.
Even before the album's release, a small minority of disenfranchised fans have pointed to the irony of a full concept record by today's lineup considering the drama and ensuing first breakup of the original band following the release and perceived failings of the futuristic album "Kilroy Was Here" in 1983.
Addressing that, Shaw said he can't let what naysayers might say affect him.
"If you're fortunate enough to be given the gift of new music (and) new ideas -- run with it, see where it takes you," he said. "There's real joy there."
The timing of "The Mission" seems fortuitous, what with it being the 40th anniversary year of "The Grand Illusion" and also the 2012 discovery of a fifth moon orbiting Pluto -- which was actually named Styx. (And, yes, the moon Styx does play into the new album's plot line.)
Clocking in at just over 42 minutes, the album's 14 songs flow seamlessly together -- with some of the tunes serving as transitional bridges to aurally further the narrative. (There are also preview text vignettes in the CD liner notes to add further story illumination.) The band wastes no time getting into the business at hand of each song, with eight of the compositions registering less than three minutes in length. Glorious prog-rocker "The Red Storm" is the longest song at 6:04.
I would highly suggest that all first listens -- and several subsequent ones -- be done in proper sequence and in one complete sitting -- with headphones, if available. It's definitely an undertaking worth planning an evening without interruptions around.
Another observation: While the album was conceived to be an entire experience, the songs themselves are compelling enough to stand on their own, listen after listen.
With the album set to drop in less that 24 hours, it seems apropos to revisit the project's very first lyric:
"Now I can say in less than a day we'll be underway on our mission to Mars."
Song-by-song capsule review of "The Mission."
"Overture": Ironically, this 1-minute, 23-second scene-setter should be the piece of music most readily recognizable by Styx fans. The band has slyly been using it as its walk-on music in concert for almost two years, including its single vocoder line: "Calling out to the universe, for the future of Mother Earth."
"Gone, Gone, Gone": Built around an incendiary guitar riff by James "JY" Young, this lead single symbolizes liftoff into the journey ahead. It is a natural show-opener, and since its release it has been kicking off Styx's live shows. It's also a great Gowan vocal vehicle.
Favorite lyric: "Slingshot to outer space, here comes the human race, we want it. No one has ever flown, into the great unknown, we need it."
"Hundred Million Miles From Home": Sporting a vintage bass foundation by original bassist Chuck Panozzo and extremely catchy guitars and keyboards, this song chronicles the thoughts of the pilot, who while excited about the prospects of the mission ahead, still can't help but think of the girl he left behind. The stellar talkbox guitar solo was the last overdub on the album.
Favorite lyric: "Now there's nothing like starlight glowing and this pain in my heart keeps growing, sometimes I feel like a fool, your gravitational pull is gonna tear me apart."
"Trouble at the Big Show": As soon as one hears the opening guitar riff, it becomes immediately obvious that we are in vintage JY territory. Sure enough, Young's vocals deliver their intended swagger on this rocking song. Sung from the perspective of the crew's engineer, who discovers a few flaws in the programming and design of the ship, and must figure out a way to fix or compensate for them.
Favorite lyric: "Today the truth won't set you free, with broke-down technology, getting high but feeling low, we got trouble at the big show."
"Locomotive": There's no getting around it -- with its intricate acoustic guitar, haunting vocals, pace changes, killer guitar solo and emotional propelling of the story at hand, this is undoubtedly one of the real standout tracks on the album, and perhaps in all Styxdom. A definite grower, it took me numerous listens before I could begin to appreciate its full depth. The opening drone of an organ note gives way to Shaw's pristine acoustic guitar and vocals for the first verse. The second verse introduces a genuinely funky Ricky Phillips bass foundation that forces itself to the forefront. Shaw delivers an emotive guitar solo that truly inspires -- not in a flashy way, but instead providing an emotional connection that takes you on a journey without a preponderance of notes. Be sure to read the liner notes intro to this song for added insight into its point of view.
Favorite lyric: "And when the road calls your name, doesn't matter what's to gain, it's in your blood."
"Radio Silence": I could write an entire review based around the things I love about this song. Whenever I only have time to listen to a couple songs, I nearly always gravitate toward "Locomotive" and "Radio Silence" in tandem. Another song that features early verses of haunting acoustic guitar and Shaw vocals before reaching a crescendo of Styx bombast. If you can refrain from singing the chorus at full vocal power while listening to this in your car, you have way more willpower than I (or a worse ability to carry a tune, which may or may not be possible). The song features a brief scorching guitar interlude and nasty pick slide that is, once again, classic JY. Shaw culminates the guitar solo with a scream so full-throated one has to wonder if he might have sacrificed a portion of a lung on the studio room floor just to record it. Great lyrics throughout this one, and I enjoy the hint of his Southern accent when Shaw sings "retrorockets 'fired'." The song -- which ramps down with a closing vocal a cappella line -- perfectly wraps up Side I on the vinyl format.
Favorite lyric: "Hypergolic fumes, hyperbolic tunes, it's a symphony of fear -- but I'm still here."
"The Greater Good": Opening with piano, and Gowan vocals, this song gradually builds in a pep-talk back-and-forth conversation between the first officer and the pilot, Locomotive. The aforementioned nod to Queen sets the stage for a solid guitar solo.
Favorite lyric: "You could lay down in the hole you dug, just fade away into the red sand. But we all know, it's not who you are, you've come too far to be stranded on this star."
"Time May Bend": An uptempo rocker that gives Gowan another chance to shine on vocals. A cool tune.
Favorite lyric: "Some live their dreams, some push them away, but we made it here, tempting our fate. Time may bend, but not enough for me."
"Ten Thousand Ways to Be Wrong": A dreamy 1-minute, 22-second bridge between songs. Shaw, calling it, "Literally the calm before the storm," specifically mentioned this as one of his favorite parts on the album as it sets the stage for "The Red Storm."
"The Red Storm": Another song likely to leave its mark on fans, it's destined to be remembered as the album's most progressive entry. It's got a building grind to it and features a massive drum fill by Todd Sucherman -- who is brilliant throughout the record -- right before a highlight-reel guitar solo that appears to feature Young opening things up before giving way to Shaw. Some great vocals as well. Several times I've woken up in the middle of the night and found myself immediately mentally locked in on the reverberations of "oh, the red storm, is closing in" from the song's chorus. The lack of a quick return to sleep is a small price to pay for the sheer enjoyment of that vocal.
Favorite lyric: "Storm is closing in, I can feel the grinding wind, the panic has calmed me now."
"All Systems Stable": Another transitory segment, lasting only 17 seconds and featuring one spoken line.
"Khedive": A frenzied piano showcase for Gowan, this (mostly) instrumental is another piece that fans of the band should recognize. Gowan has been featuring it during his solo keyboard romps in concert for the past year or so, without anyone knowing what it was. In terms of the story, "Khedive" is the name of the crew's nuclear-powered interplanetary spacecraft. To my ears, the dual guitar solo also sounds regally Queen-esque.
"The Outpost": Another extremely enjoyable song, with lead vocals by Gowan. The chorus on this one reeks of bombast and exudes near-pure joy. I could see this becoming a third single release. It would seem to be a big hit in concert as well -- if the band can ever find a way to fit it into the setlist.
Favorite lyric: "When the stars are falling, we can hear them calling, and we won't stop searching, no we won't stop moving."
"Mission to Mars": A trippy, Beatles-esque ode to the overall mission, basically a callback to the story's origins. An especially interesting listen in light of Shaw's revelation that his messing around with a riff in the dressing room one night eventually turned not only into this song, but an entire concept album.
Favorite lyric: What else? "Now I can say in less than a day we'll be underway on our mission to Mars."