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White Knight Records [Release date 24.01.24] 25yardscreamer.bandcamp.com/music
25 Yard Screamer, who we first reviewed back in 2005, are now typical of those solid bands who feed the gnarly backbone of prog rock without being touched by wider success or recognition. It seems an age since their impressive “concept” piece “Cassandra” that really brought them to our attention and since that time they’ve released six more albums including the latest. We fondly remember their set on our ‘Rising Stars’ stage at the Cambridge Rock Festival in 2007.
Although influenced by Rush and the more metal progsters they haven’t followed fashion or expectation and each album has marked a departure, either in the music or in the band line-up.
Happily the band’s vocalist/guitarist Nick James and Matt Clarke – both original members – remain steadfast. And for their latest offering they’ve revisited their 2003 “debut” “The Pictures Within”. This was only ever produced “for family and friends” and is what the band call “an album of demos” so that they could at that time review progress and potential. For completists, the track ‘Throw The Blame’ also appeared on 2005′s ‘Approaching From An Oblique Angle’.
The influence of Rush throughout these tunes is evident but the whole is elevated by an urgency in both James’ vocals and playing. Add in Matt’s bass propulsion and Chris Henchey’s drums and the energy levels remain high throughout. This is well represented by the opener ‘Leap Of Faith’ which comes at you wave on wave building to James’ solo playout.
The band can vary the sound palette and ‘I’m An Explosive’ is convincing for both its orchestration and James’ vocal. A real standout along with a great instrumental ‘Catapult’.
On the other hand ‘No Beautiful View’ presages what they would do with the yet to come ‘Cassandra’ blending ambient effects, plaintive vocal and widescreen drama.
In fact the bonus “Havoc Mix” of this track (a Bandcamp exclusive) is the better version and does full justice to Nick James’ vocal (and guitar). The song itself reminds of Marlllion in their ‘Somewhere Else’ phase (a la ‘No Such Thing’). A whole album of this sort of stuff anyone?
The band really go to town on the title track which becomes an orchestrated epic topped with James’ mangled guitar. Wonderful. It could only be improved upon with a dedicated keyboard player and that sweeping orchestration elevated in the mix.
Of course we haven’t got that limited album original for comparison (although it was remastered in 2020 and available via Bandcamp), but it’s fair to say that the band have moved on in leaps and bounds since the early-2000s.
This re-imagining is a great opportunity for both the band and their fans to reassess early work. It will also appeal to those who loved ‘Cassandra’ as – like that masterwork – it is very accessible and in that respect also connects with their previous offering ‘Nemesis’. Are these guys mellowing? ****1/2
Review by David Randall
Album review (Nemesis, 2022)
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