The Madrigal Project’s debut album, 11th Hour, stands as a bold declaration of progressive rock’s enduring vitality. Spearheaded by Kevin Dodson, the creative force behind the cult prog band Madrigal, this album brings together an elite cadre of musicians to craft a sonic experience that both honors the genre’s legacy and pushes its boundaries. With contributions from the likes of Adam Holzman (Miles Davis, Steven Wilson), Oliver Wakeman (Yes, The Strawbs), Billy Sherwood (Yes, Asia), Michael Lewis (Jon Anderson, Jean-Luc Ponty), and Jane Getter (Jane Getter Premonition), 11th Hour combines the intricate, layered arrangements that define progressive rock with fresh, contemporary twists. Set for release on October 11, 2024, this album promises to be a highlight for long-time prog fans and new listeners alike.
Dodson, whose work with Madrigal garnered cult status with albums like Waiting (1988) and On My Hands (1996), has taken his vision further with 11th Hour. Described by Dodson as “the realization of a dream that took a lifetime to achieve,” this album is not just a nostalgic throwback but a reinvention of his musical legacy, supported by a collaborative effort from some of prog’s finest. Drawing inspiration from the progressive giants—Yes, Genesis, Jethro Tull, Van Der Graaf Generator, and King Crimson—the album navigates between old-school complexity and modern production finesse. Recorded at Dodsongs Productions and Soundlogic Audio, 11th Hour is a meticulously crafted experience, polished with the mastering expertise of Andy Van Dette (Evolve Mastering, NYC) and adorned with the stunning artwork of Hajo Müller, renowned for his work with Steven Wilson.
The album opens with “Maude Frantic,” a high-energy piece that immediately sets the bar for the intricate musicianship and intricate structures to come. Filled with unconventional time signatures and sharp, intricate passages, it offers all the hallmark traits of classic progressive rock while still feeling fresh. Tracks like “A Question of Wait and Matter” add a touch of Canterbury-inspired charm, with whimsical, laid-back melodies and playful arrangements that balance out the more intense moments. Meanwhile, the formidable one-two punch of “Canvas” showcases the band’s ability to weave dense sonic textures that leave a lasting impression.
As the album unfolds, Dodson’s penchant for vintage prog fusion comes to the forefront. “I’m No One” is a sprawling, immersive journey through ’70s-style synths and winding guitar solos, constantly shifting through instrumental breakdowns that feel both nostalgic and forward-thinking. The title track, “11th Hour,” clocks in at a cinematic ten minutes, blending frenetic rhythms with discordant melodies, heavier riffing, and Peter Hammill-esque vocals, creating an emotional rollercoaster that feels simultaneously chaotic and masterfully controlled.
The variety in 11th Hour is one of its strongest suits. Tracks like “Breaking August” feature an eclectic mix of styles, pulling influences from funk and jazz while keeping a solid progressive rock foundation. Each piece on the album manages to shift and evolve, refusing to settle into predictable patterns. This unpredictability keeps the listener engaged, and no song overstays its welcome before veering off into a different groove or dynamic, ensuring a fresh experience with every listen.
One of the standout moments is “Sumpin Ovit,” a lavishly arranged piece that is constantly twisting and turning, inviting listeners into a world of unexpected sonic landscapes. With soaring keyboard solos that bring to mind the genre’s golden era, the track feels like a showcase of each musician’s virtuosity, all seamlessly interwoven. The collaboration among the band members creates a sense of collective immersion, where every note feels like an extension of their personal musical identities. The acerbic, biting lyrics scattered throughout the album provide a layer of wit and social commentary, adding even more depth to the listening experience.
The album takes a brief interlude with “Sisters,” a piano-and-synth-driven piece that bridges the gap to the closing epic, “Boat Five.” This final track tugs at the listener’s emotions, combining progressive rock’s cerebral appeal with moments of raw emotionality. It’s a piece that not only mirrors the grandiosity of the album’s earlier tracks but also poses reflective questions about society, transformation, and progress. It’s an introspective conclusion to an album that spans both technical prowess and profound thematic weight.
With 11th Hour, The Madrigal Project has created an album that transcends the expectations of progressive rock fans. It’s a layered, multifaceted work that draws from the past while forging a new path forward for the genre. Every track offers something new, ensuring that the album will reward repeated listens. Though it won’t be officially released until October 11, 2024, 11th Hour is available for pre-order now through the band’s Bandcamp page, and it is a must-have for anyone who appreciates high-quality, boundary-pushing music. This is an album that truly embodies the spirit of progressive rock at its most ambitious and forward-thinking.
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With "11th Hour", The Madrigal Project has created an album that transcends the expectations of progressive rock fans. It’s a layered, multifaceted work that draws from the past while forging a new path forward for the genre. Every track offers something new, ensuring that the album will reward repeated listens.
