NEAL MORSE: No Hill For A Climber (PROGRESSIVE ROCK): review / opinion to read on Music Waves

Unstoppable, Neal Morse? In addition to his collaborations with Spock's Beard (6 albums), Transatlantic (5), Flying Colors (3), not to mention his collaborations with D'Virgilio & Jennings or Portnoy & George, “No Hill For Climber” is his 33rd studio album, many of which have achieved top marks on Music Waves, so much so that one of the editors asked: “But which of all Neal Morse's albums is better than the others?”

For this new project, Neal Morse hasn't surrounded himself with his usual “Band”, but has called on a group of young, locally renowned musicians: The Resonance here shows musical qualities fully up to the standard of previous collaborators, and Neal as usual imprints his so recognizable signature throughout the five tracks (including two big peaks exceeding 20 minutes).

And that's the problem with this album, a (relative) weakness already highlighted time and again in the American's previous productions: his personality is so recognizable that it has permeated every project he's been involved with, its originality fading with each release. Not that this album is bad, far from it (most bands can envy such a level), but such a bulimia of releases demands impeccable compositions.

There's an air of déjà-entendu in all the tracks that make up “No Hill for a Climber” that leaves the listener on the verge of disappointment. The most convincing track is the introductory 'Eternity in Your Eyes', which exhibits many of Neal Morse's gimmicks: the symphonic opening, the Yessian slapping bass, the Flowers Kings-like breaks, the alternating use of guitar and keyboards, the choral finale, with many rather predictable harmonies and rather freewheeling solos. The other epic, placed at the end of the album and which gives it its title, is much more fragmented, the different parts showing qualities in isolation but interspersed with “false exits”(*) (seven all the same) which lose coherence. 'All the Rage' is common in Neal Morse's discography, and 'Ever Interceding' has a pleasant theme, but falls short of the unforgettable 'June' with its sophisticated vocal harmonies. 'Thief' is the only one to get off to an original start, with a false bluesy air, but it gets lost along the way.

So “No Hill for a Climber” doesn't join the leading pack among the American's albums. It does, however, bear witness to a certain savoir-faire, but is that enough when your name is Neal Morse?

* clarification: the false exit is a procedure in theater, when an actor goes to exit, but turns back to complete what he has to say. Musically, this translates here into a big chord plucked for a few seconds as if the piece were finished, but then it starts again (and not always in the same direction...).
- Official website

NEAL MORSE

NO HILL FOR A CLIMBER

INSIDEOUT MUSIC

PROGRESSIVE ROCK