APF Records releases Stalker, the debut album by Technical Metal group Utopia. The band was formed in 2020 by regular Aled Jones and Russell Watson touring guitarist John Bailey and Corrupt Moral Altar vocalist Chris Reese. Guest musicians on the album include: drummers Billy Rymer, Baard Kolstad (Leprous), Lee Fisher (Fawn Limbs/Psyopus) and Si Blakelock (Tangaroa/Dream Troll), guitarist Simon Peter King, bassist Arran McSporran (De Profundis/Virvum), and keyboardist Mike Moran (Ozzy Osbourne/George Harrison). The name Utopia reflects sensitivity, mental health and neurodiversity. Bailey wanted Stalker to sound heavy and aggressive but emotional and intelligent. It took 7 to 8 months of writing and involved the geographical problems of recording musicians from around the world. Stalker is available on clear vinyl, Digipak CD, and digital download...

We begin with 'The Bus Station Roof', which is about those people disassociated and no longer capable of interfacing with the world. It’s a mix of Industrial Metal, Black Metal, with tinges of Death Metal… and nonsensical freeform Jazz. Admittedly, certain aspects of the latter work as a break to the much heavier stuff, and more pertinently as ambient sound effects. 'Full-Length Biography' has a Techno-Psychedelic opening but lapses into random noises. The Metal keeps this on track, but the Jazz elements are just plain weird – like a band or orchestra tuning-up. 'Impotent Prophet' – a social comment on religion – has jungle or tropical sounds launch the Technical Metal with both screamed and growled vocals. The programmed linking noises work much better than the Jazz elements. 'A Projection of Me On You' is a moderate paced heavy piece with ambience and reverb that works fairly well. There is very little of the linking nonsense, so we effectively get to hear a proper song in this style.

'Utopia' has an acoustic opening using unusual progressions which segues into a heavier piece with growled vocals, which are nice but clash somewhat with the screamed ones. There are some inherent mystical Prog guitar moments in this one. 'Spirit Wives' incorporates a nice quirky opening, but it’s cleaved in two by the force and pace of the full band sound. It then calms down to a more moderate canter. 'What about Me' has a riff of sorts, with stick-sounding drum patterns. It has a stop/start format with more prominent Technical Metal moments, interspersed with high basslines and keyboards. In 'Happiness', screamed and growled vocals fight for prominence from the same vocal chords in this all-out violent music assault, supported with ‘clever’ twiddly touches. Smiledyawnednodded is a phrase from ‘Ulysses’ by James Joyce. The book and this song explores the boredom of talking with someone who only talks about themselves and their own successes in life. I like the concept behind this much more than I do the music itself, although the redeeming factor is that parts of it could be used as a film score.

'Moscow Holiday' has a nice scene-setting and atmospheric opening. It also has a proper theme running through it. This one is possibly the best offering because it’s more conventional and thus more accessible. We finish with 'It’s Not the End', in which the Technical excesses return – this time with a multitude of electronic and other effects. This release has its moments. It’s certainly different, but it’s probably not one I would enjoy returning to frequently. However, If you are a fan of Jazz and Progressive Rock/Metal then I’m sure you’ll find this more to your taste.

5

Ty Power