THE MUTE GODS: Atheists And Believers (PROGRESSIVE ROCK): review / opinion to read on Music Waves

At almost 60 years old, Nick Beggs can boast a beautiful musical career. Known as the bassist of the new wave band Kajagoogoo, his career took a new turn in 2011 when he joined Steven Wilson's team to record the album "Grace For Drowning". Two years later, his path cross that of the drummer Marco Minnemann on the occasion of the recording and tour of the album "The Raven That Refused To Sing", still signed by the former Porcupine Tree leader. The idea of starting a band together took shape and Beggs then contact Roger King with whom he had played for Steve Hackett. The formation is then all found and The Mute Gods is born in 2014. For this album, the three musicians contacted renowned guests. The album credits include Alex Lifeson on guitar (Rush), Craig Blundell on drums (Frost, Steven Wilson), Rob Townsend on flute, soprano saxophone and clarinet (Steve Hackett), and Lula Beggs on choir.

The first eponymous track, 'Atheists And Believers', is the first single, and it is easy to understand why. The verses are full of feeling, the chorus is immediate and very well found. We are in the midst of a sophisticated 80's pop scene, and the combo excels in this style.

The second track, 'One Day', is in the same vein, with a more rocky side, relevant keyboards, choirs and its singing, again very catchy. But when listening to the following pieces, it becomes difficult to define a common musical style. 'Knucklehed' and its very present slapped bass is reminiscent of Red Hot Chili Peppers, while 'Sonic Boom' offers a rather delirious instrumental and experimental condensate, at the crossroads between metal, reggae and electro.

In the second part of the album, the intensity of the first tracks gradually decreases. First we find "Old Men", a refreshing and soothing little ballad led by Rob Townsend's flute. The Mute Gods is then displayed through the prism of a more refined, more minimalist music, perhaps also a little less convincing. 'The House Where Love Once Lived' follows the path of the previous track, with a hushed atmosphere that sometimes lacks consistency. 'Iridium Heart' strengthens the atmosphere by offering six minutes more focused on progressive rock but with inconsistent quality. If some passages are interesting, the very particular sounds of the chorus make it a rather unpleasant passage to listen to.

The end of the album is also a little less inspired. On 'Twisted World Godless Universe', and as on the previous track, the voice of the verses is spoken and filled with dispensable effects, and again, despite some very good progressive influences, the track lacks balance between its parts. The opus ends with the classic Erik Satie style piece, 'I Think Of You', which, although pleasant, does not bring any real added value to the whole.

So what about "Atheists And Believers"? The album starts quickly and strongly with well-crafted tracks and rather general public before moving on to tracks that will not be unanimously accepted because they are less obvious and perhaps more elitist. Given the talent of the three men and the richness of their careers, we could have expected a slightly more consistent opus. Their return under the name of The Mute Gods is still a pleasure to see and "Atheists And Believers" is worth a visit to immerse yourself in the world of Beggs and co, if you can't see them on stage! - Official website

THE MUTE GODS

ATHEISTS AND BELIEVERS

INSIDEOUT MUSIC

PROGRESSIVE ROCK