Staring Into Nothing

Often when band's split and the members go their separate ways, we're left wondering what could have been. If Lennon had survived and reunited in the early '90s, would they have produced a raw and untethered grunge version of The Beatles? Some wild concoction of Helter Skelter and Cold Turkey?McCartney's recent collaboration with the surviving members of Nirvana seems to suggest they might have. In 1985 Roger Waters split from Pink Floyd. In his solo career, he went on to deliver his biting social and political commentary through an expository style like that of a Broadway musical, letting the music play second fiddle to his harsh lyrical indictments. Meanwhile, Gilmour and company forged ahead under the Pink Floyd banner, taking their progressive sound into the future with the massive drum sounds and exponentially evolving synths and guitar effects that the rapidly advancing '80s technology market had produced. All the while, Gilmour's lyrics and vocals continued to ascend into the stratosphere like a helium balloon released from the hand of a child. However, imagine if Floyd had stayed together into the '90s. If Waters had continued his deep questioning over the band's Division Bell sonics.

Power, the latest release from theatrical prog outfit Staring Into Nothing answers that question with a thematic album that sneers in the face of authority. Built on the forceful keys of Steve Rogers, the songs reach soaring heights with lofty guitar solos and galloping bass lines.

The album opener, 'Puritans' serves as a mission statement for the album. A sprawling piano intro announces a grandeur and sadness. Rogers' vocals creep in with a sly sarcasm, half embodying the Puritans he lambasts. The drums come in driving, like grabbing on to the caboose of a moving train. Rogers continues to indict the authoritarian nature of socially conservative entities as choral backups mimic the institution they satirize. Following a towering guitar solo, snarling clavinet and a snappy rhythm section carry out the tune alongside the final biting lines.

'Obey' takes on a dreamier tone, infusing an '80s synth pop vibe in line with Depeche Mode or New Order. Shakers, triangle and tiny boxy drums take over from the thunderous tone of the earlier tracks. Light synths and meandering guitars. Rogers' delivery gets softer though his rhetoric remains harsh, name dropping the Fuhrer and reliving the holocaust in his exploration of complacency.

'Information Crime' is another standout track that delves poignantly into the over saturation of political media and the era of misinformation that we currently live in. Beginning soft and unassuming as Rogers lays out the game pieces, the song morphs into a prog metal juggernaut with Alice In Chains riffery. In the last part of the album, lead single 'Big Brother' gets to its ostentatious chorus after a few clunky transitions. The verses are somewhat overloaded with terminology. The ripping solo outro backed by more choral vocals redeems the song's rough edges. An odd choice for the lead single.

Power is certainly ambitious in its scope, taking on the machine of the ruling class guns-a-blazing. The music is full of grand triumphant overtures and soft melancholic ditties. Rogers has a lot to say and tries to fit it all in. Like Roger Waters' later solo works, his exposition can at times take precedence over hook and melody. With a little editing, Staring Into Nothing could find that golden middle ground that served bands like Floyd so well.