Never the front runner in the line of soul, rhythm has always had the mundane task of keeping a beat. Unable to to shock with virtuosity or bathe in melody the likes of a lead section. Deciding to challenge the musical apartheight, Nick Beggs, Marco Minnemann and Roger King have come together to give a voice to the voiceless. The unsung heroes of the musical world unify the back bone of a band and now we see the arrival of The Mute Gods.
1. Do Nothing Till You Hear From Me
2. Praying To A Mute God
3. Nightschool For Idiots
4. Feed The Troll
5. Your Dark Ideas
6. Last Man on Earth (Bonus Track)
7. In The Crosshairs
8. Strange Relationship
9. Swimming Horses
10. Mavro Capelo (Bonus Track)
11. Father Daughter
Label: Inside Out
Release date: January 22nd 2016
Much of Do Nothing Till You Hear from relies on peaks and troughs. From the initial sound reminiscent of 1950’s wonderment when the use of “the wireless” became an event of the world over. Not to mention the hoax of War of The Worlds, with this in mind this speck of Sci-Fi is dusted throughout the album. The slightly lengthier title track showcases the more progressive grandeur of The Mute Gods, immediately creating a head spinning sense of awe. In the same breadth minimalist style of “Feed The Troll” relies on a solitary bass line to carry the song until it’s climatic crescendo courtesy of fantastic drummer Marco Minnemann. Showing that the band can be just as adept in a more refined setting.
The biggest surprise however is the realisation of Nick Beggs‘ wistful wonder of a voice. “Nightschool For Idiots” is a playful reminder of all those times where regret has infiltrated hearts and with the singers silken voice is perfect for a retrospective midnight walk through the city. Making use of electronics on the album the hook of a verse will often have its stragglers of electronic chatter which does anything but detract. Having worked with Progressive heavy weight Steven Wilson perhaps the idea of singularity has taken a slightly more fictional approach contrasting from the introvert people watching observations of his peer.
“Last Man On Earth” again capitalises on this feeling of lonesome reflection peppered with Hackett-esque guitar from Roger King lending to some soaring leads. Begg’s and King’s involvement in the record could act as a placebo for “In The Crosshairs” at times dangerously close to Wolflight yet still remains of its own character. “Father Daughter” once again pack more of an emotional punch in its simplistic and spacey writing. With an abrupt end to the record highlighting just as mysterious as their arrival, The Mute Gods depart.
Having at long last eschewed being more of a spectator Nick Beggs has at last been able to man the directors helm. Resulting in the Kajagoogoo man delivering material that has influence ranging not only throughout the prog spectrum but uses fantastic musical vocabulary from all three members of the band. The Mute Gods have indeed spoken a beautiful first sentence.