Review: Tylor Dory Trio – Unsought Salvation

Review: Tylor Dory Trio – Unsought Salvation

Bandcamp (Dec 21st 2019)

Reviewer: David Pearce

Tylor Dory Trio’s ‘Unsought Salvation‘ album starts with ‘The Righteous and the Rest‘. It begins with a spoken word intro from Dory himself then goes into an old style prog tune that put me in mind of Yes. The repeated line ‘Time is gaining on you’ seems to reflect the idea of seminal track on Dark Side of the Moon but the heavy tune is more Iron Maiden than Pink Floyd.

The second track ‘Comatose‘ once again features the heavy rock bass guitar of Slava Fedossenko and the controlled ferocity of Jonathan Webster’s drumming. Again, the lyrics and tune of the track put Tylor Dory’s influences fair and square in prog’s 70s heyday. The synth of ‘Fallen Man‘ is more redolent of the 80s but the song develops in the same way as the first two, showing a more metal style sensibility.

Dying Light‘ was the choice for second single from the album and is a more accessible track for the uncommitted listener. It is definitely more in the prog style of Jethro Tull with a folk edge to the lyrics and is one of my favourite tracks on the album. ‘The Spaces in Between‘ channels the heavier end of the prog rock spectrum both in terms of tune and lyrics and pushes the boundary between that and heavy metal to the point where they are indistinguishable.

East of Eden‘, the first single off of the album, is a bitter song that tells the story of a relationship gone bad due to the psychological tricks of the other person. It puts all of the blame on to the other party and it makes you wonder how much is rooted in truth.

Glass Menagerie‘ starts off with Spanish guitar and a more subtle yet still painful story that continues on from ‘East of Eden‘. Its sadness and confusion makes it easier to listen to than the bitterness of the previous song. ‘Marionettes (of distant masters)‘ features lyrics that accuse people of sleepwalking into an age of dictatorship and demagoguery and a tune that doesn’t try to overpower the song. It’s definitely another one of the standout tracks on the album.

Into the Maelstrom‘ is a bleak track that reminds us of our mortality in the form of a Leonard Cohen style largely spoken poem. ‘Cenotaph‘ is the final track on the album and lasts for nearly 14 minutes. In this way it is the most traditional prog track on the album as it features a slowly building synth led introduction that shows a Rick Wakeman influence before settling in to lyrics that deal with the darker side of life with a lighter touch than you hear on the rest of the album. It is allowed room to develop and eschews the overt heaviness of most of the other songs, so it seems to be more of a coherent track than any of them. I really enjoyed it and felt that in this song we see the direction that the Tylor Dory Trio might usefully explore in future albums.

The long form clearly suits them and perhaps four or five epic tracks like this would have made this album a more complete listening experience. There is definitely enough in this one track to be intrigued as to what they could come up with next and I will definitely be listening.