Movers is a young band from Atlanta, USA that offers Progressive Rock, with influences that touch multiple genres and styles. In January 2021 they released their self-titled debut album and after the entry of the keyboardist their sound has evolved and refined. The second album “Futurist at the End of Time” was released on February 12, 2022 self-produced like the previous one and contains 6 tracks including a suite in the finale of over 14 minutes. The album opens with “The Race” featuring a pompous synth intertwined with massive guitar riffs, while the rhythm session is solid. The drumming is enriched by the tempo changes and the bass lines are load-bearing, the singing is dynamic and expressive, resulting in an added value for the sound of the band. In the central part the guitar offers a solo inspiration in the instrumental section, while overall the sound recalls the Neo Prog sounds. The title track “Futurist at the End of Time” is a 1:49 interlude characterized by acoustic guitar and a warm and intense vocal. Dreamy keyboards open “Spiders in the Woodwork” to develop a track reminiscent of Pink Floyd in sound, characterized by a long intro. The first part is less incisive than the second, where in my opinion we find the best ideas, developed with tempo changes and more elaborate and original plots. Good intertwining between guitar and keyboards, especially in the instrumental section, in the end the singing returns for the last verses and closes. A rhythmic drumming begins “Leviathan” which plays sounds that deviate a little from the classic Prog, recalling the New Wave sounds of the late ’70s. The passages are still valid and elaborate, with the guitar at the center of the sound, both in the melodies and in the solo inserts. Even the vocal follows those sounds, and the track is quite engaging. “All in Good Time” returns to more Progressive sounds, with a good mix of guitar and keyboards, with a melancholic atmosphere reminiscent of the early 70s. The orchestral background, the guitar solo cues and the flute sound (probably simulated on the keyboards) are interesting, giving a pastoral touch to the sound. Here we are at the final epic suite of over 14 minutes that continues the final track of the debut album, entitled “Marcus’ Desolation Chapter II.” Unlike the previous ones, here the sound is more solid and aggressive, with excellent intertwining between guitar and keyboards, enriched by tempo changes, massive drumming and elaborate bass lines. The vocal is energetic and dynamic, best interpreting the various situations of the piece. A well-constructed alternation of symphonic parts and heavier sections, with accelerated and solo sections that enhance the ideas and individual technique of the artists involved. Surely the main track is the final suite, which enhances their more Progressive vein more, despite the fact that the previous tracks are sometimes pleasant. The different sound nuances of the band mix, proposing in some passages Pink Floyd-style sounds, in others closer to the New Wave. Overall a pleasant listening, which has its strong point in the final suite and the best and best developed ideas. This young band shows they have talent, which over time can be refined, allowing them to express their full potential to the fullest.
Tracklist
01. The Race (06:06)
02. Futurist at the End of Time (01:49)
03. Spiders in the Woodwork (08:41)
04. Leviathan (04:51)
05. All in Good Time (04:49)
06. Marcus’ Desolation Chapter II: War of the Heavens (I. Overture, II. The Aether, III. Birth of Marcus, IV. Marcus and Hades, V. Desolation, VI. Reconciliation) (14:26)
Lineup
Collin Ferguson / Guitar, Vocals
Brian Wilson / Bass, Vocals
Drew Serrero / Drums, Percussion
Jack Johnston / Synth, Vocals
No mention of Rush? ‘The Race’ and ‘Leviathan’ couldn’t sound more like Rush if Geddy had written and sung them.
I’ve mentioned only Pink Floyd becausase there’s a track which has strong references to them. The others seem to me with more personal traits and I don’t like to make constant comparisons, each band has its own sound, but if you listen to track 3 it has strong references to PF.