Mostly Autumn
Passengers

Mostly Autumn? What is it, a line of coats? Discovered almost by chance some time ago, thanks to the aforementioned album, "Passengers" (whose cover intrigued me, to be honest...), they have represented for me a (at times pleasant) surprise.

In search of a modern counterpart, but possibly in line with the typical structures of the time, to the '70s progressive, something that differed from the originality (and uniqueness) of the composition of his majesty Steven Wilson (Porcupine Tree), and at the same time did not undergo external contaminations (read extreme rock, various and sundry), here appears the magnificent Heather Findlay (singer and guitarist) and the band following. Trying doesn't hurt, as the saying goes, so... ready, go!

First point: how many are there? I mean the members of the band. Because between lead voices and backing vocals, male and female, the number (just the number for heaven's sake, no misunderstandings or misrepresentations!) of different tones (five) even evokes "Knots" by the fantastic Gentle Giant. Anyway, it doesn't matter much, let's get into the heart of it. Uhm. One moment: this is not exactly progressive rock. Or rather, it is, but forget Canterbury and so forth, we are closer to Pink Floyd and Genesis. Yes, that progressive bordered by space-rock and subtle psychedelic traits, but there's more. There's some folk, Celtic folk, that at times becomes so prominent that it's hard to actually understand who influences whom. Violins, cellos, flutes, the mysterious "feadóg" (a sort of distinctive flute), Irish bagpipes, bouzouki (which is not a distorted version of "bazooka," but simply a type of mandolin, also folkloristic), contribute to creating evocative atmospheres, sometimes medieval, sometimes baroque.

Such is the case with the ballad "Another Life," or "Simple Ways," enriched by an imposing final section, where distant choirs intertwine melodic lines of flute and keyboard, all exalted by a very active Gavin Griffiths (drums), well-supported by multiple, varied percussion. "First Thought" fully exploits Findlay's vocal potential, with sounds close to "Wish You Were Here" and "The Wall" but, truth be told, it remains a bit on the surface. "Caught In A Fold" and its liberating major key, winds driving the piece, in the atmospheres, it recalls the best Cranberries, if not for a more detailed and "alive" structure, rocking.

With "Distant Train" and "Answer The Question," linked, one is transported to a second level, a high-level, of passion, class, and style. The first instrumental track captivates the listener, taking them with it in a picturesque fresco of Nordic landscapes (thanks to a suggestive "Celtic" interval), where every second enriches with different shades the picture they are intent on observing. Carried by a river in flood, one "merges" literally into the second track, resting on the sweet Hammond of Iain Jennings, who also delights thanks to the piano. Findlay and Josh (vocals, guitar) duet, two different, stylistically opposed souls (like "question" and "answer..."). "You're here, and will be for all the time," and indeed the ending is nuanced, almost rendering a sense of continuity, perpetual. "Passengers," the title track, is a ballad of over six minutes, once again supported by a very inspired Heather Findlay, and a solo by Josh that, for emotional impact, perhaps ranks first, in the album.

And now, dulcis in fundo, "Pass the Clock," 12 minutes divided into three moments, of rare beauty. Initial duet at times whispered, the winds accompany Josh's guitar, a slow, fascinating, and relaxing. A "progressive" Jennings bursts in, surprising, along with Josh, left "alone," and extremely theatrical in his vocal interpretation, a crescendo that is broken to make room for new (innovative?) folkloristic atmospheres, a new duet, a reprise of the initial part; Chris Lesile on violin and Troy Donockley on the bagpipes experience brilliant moments, there's time for an engaging solo by all the musicians (of Genesis stamp), and a moving finale.

An album that "transports" the listener, almost as if they were indeed a passenger, to discover hidden, beautiful landscapes and locations. If originality and impact were not considered, probably an album above average, but not by much, naturally elevated (commandingly) by some pearls ("Pass the Clock" and the others mentioned). And since, in the indecision of the rating (3 or 4 stars?), there's the fact that the band is little known, yet decidedly better than other more renowned and considered ones... I lean towards the second option.