by Henri Strik. April 2025.

Compared to line up that recorded their debut only one minor change is notable. Bryan Collin, the guitarist on this release, decided to exit the band to pursue his own particular musical interests and projects. His replacement is Brendan Kinchla, a Berklee School of Music grad. Keyboard player Chris Dabbo was originally brought in as a session player during the early stages of the recording of their first musical effort. He is now fully on-board. They are complemented by drummer Robert Hutchinson and bassist Jeff Brewer who is also responsible for the bass synths, bass pedals, some guitar parts and all of the lead and backing vocals.

The band themselves writes about Once There Was: "The entire CD takes the listener on a musical journey with thought provoking lyrics, strong vocals, shifting tempos and time signatures, ambient interludes, haunting melodies and well crafted and powerful arrangements. The Far Cry captures the spirit of classic 70"s era progressive rock and ushers it into the 21st century". I guess I just don't have to add something to it. This tells the whole story of what the band and their music stands for.

For those who are not satisfied with the information made public by the band itself, I can provide some additional information. All you have to know is what the four album tracks, which are most of the time rather long, sounds like and who might have influenced them on those tracks.

The album opens very strongly with Unholy Waters. Here you can hear influences taken from UK (In The Dead Of Night), Emerson, Lake & Palmer, Yes, Steve Hackett and Genesis. The bands shows on this strong opener what they have in store music wise. Which means strong bass and bass pedal parts reminding me of the late Chris Squire. And above all excellent guitar and synthesizer solos. Most of those guitar solos are here accompanied by majestic Mellotron and bass pedal parts. Giving the music an extra bombastic progressive rock sound bringing within the song very beautiful climaxes. As for the lyrics. Unholy Waters is loosely based on the Bermuda Triangle. It's about unexplained aircrafts and oceancrafts disasters at sea throughout history. They expanded it and include the entire mysterious oceans where they are missing.

The strong instrumental Crossing Pangea is next. It starts with an impressive intro and is followed by a bit of a weird counter-intuitive drum rhythm. Many solos on the electric guitar and synthesizer can be enjoyed again. Also again the influences of Yes, Emerson, Lake & Palmer, Genesis and UK are notable. Crossing Pangea is about adventurers crossing the supercontinent of Pangea and the trials and tribulations they would encounter traversing the many different landscapes and barriers, ie mountains, desserts, jungles and rivers, etc. They used the changing music to represent each one of those challenges.

The Following is a more mellow track with again strong instrumental parts performed on the guitars and synthesizers. Yes comes to the surface once again. The Following tells the story of a young boy growing up into manhood by following all the rules of government and society ultimately to his demise.

They might have saved the best part to end this excellent album. With Once There Was the band created their own half hour long Magnum Opus. As for the lyrics. This is a story of smalltown USA, taking place in the 1950's and 60's and the changes it goes through as big box stores, and high tech industries move in bringing with them multimedia technologies that change the charm and simple lifestyle of living in a small community. The cover of the CD is tied to the title song as representing a quiet and peaceful place to live, as it used to be. As for the music the twelve part title track takes the listener on a musical journey on which all members for the last time show how talented they are on their instruments. It contains several musical moods. From mellow to up tempo. It is all present in this excellent compositions. There is so much happening that it is very hard to explain. You just have to experience it yourself because once you have listened to it, words simply fail you. All the previously mentioned musical influences come to the surface again. Although it seems as if Rick Wakeman is even more present here than on the previous tracks. Again lots of bass pedals and Mellotron parts that provide lots of bombastic sounds and musical climaxes. After the final notes are played you can only gasp for air. Wow what an incredible musical rollercoaster Once There Was is.

Well, in the end you can also say this about the entire album. An album that is a series of musical highlights. As is evident from my explanation about the individual songs, I cannot catch the band on a bad song or give a word of negative criticism. The band has almost made the ultimate musical album that every lover of this genre can enjoy. With this new album they have once again raised the bar and did not want to be satisfied with less.

I can therefore only recommend this album. Especially to lovers of the previously mentioned influences. Retro prog and neo prog lovers will especially enjoy this excellent album. An album that belongs to the best released in 2025. For sure. No doubt about it. The band can and may be very proud of what they have released. All the efforts have finally paid off.

by Bjorn Backes. April 2025.

Retro prog on a genius level.

With their first album, the musicians of THE FAR CRY opened the door to retro prog music, inspiringly recalling the immense influence the heroes of YES had and still have on the entire history of rock music. However, "If Only..." unfortunately got a bit lost in the flood of pandemic-induced studio overtime, so Robert Hutchinson and his crew weren't able to reap the accolades they certainly deserved. Four years later, "Once There Was" follows, another masterpiece that largely draws on the debut, once again defining keyboards and synths as the pinnacle of his work, while also perfectly utilizing the rest of the instrumentation to create gallant arcs of tension that continue to throb in the ear canals long afterward.

"Once There Was" starts off absolutely befittingly for THE FAR CRY. A keyboard-heavy long track with many fine instrumental improvisations and wonderful harmonies breaks through, balancing a variety of moods and yet creating some main themes that can almost be understood as subtle hooks. The melodies are catchy, the phenomenal vocals of multi-instrumentalist Jeff Brewer get under your skin, and despite the clearly recognizable references – YES is and remains the key factor in THE FAR CRY – the track easily stands on its own and also highlights some key characteristics.

The equally long instrumental 'Crossing Pangea' is a bit trickier, but it also features more guitar detail and moves more into focus, repeatedly dueling with the dreamy keys. A whopping twelve minutes fly by, which alone should be enough of a quality indicator to explain the special features offered here. Only the ballad-like 'The Following' falls a little short, perhaps even overly heavy in the opening sequences, but this impression is compensated for as soon as Brewer's voice intervenes. "Falling a little short" in this context means "just" being good!

The highlight of the new record, however, is undoubtedly the twelve-part title track, which covers the entire spectrum of retro prog. Suspenseful arrangements, some surprisingly rocking sequences, keyboard variations galore, and those consistently impressive vocals. Over a running time of 31 minutes, THE FAR CRY puts the finishing touches on its signature sound and completely wins over the YES audience.

Now, it might be a bit unsatisfying for a relatively new band to be constantly reminded of the parallels, but on "Once There Was," this has an entirely positive effect. The benchmark is clear, but it can be met, especially since THE FAR CRY pursues a somewhat more modern sound and is able to distinguish itself here at the very latest. This album not only has class, but also very impressive song material with which they will hopefully soon make up for their lack of success. The four Americans certainly deserve it!

by Juergen Meurer. April 20, 2025.

The Far Cry was a blank slate for this writer until now. The name Dan Maske did somehow float around in the back of my mind in this context, but that's misleading, because the band the American keyboardist played in (or still plays in?) is called Far Corner. While they were more closely associated with RIO, The Far Cry, also from the USA, play flawless symphonic prog. And of a quality that suggests genre fans should definitely check out this quartet.

The debut album "If Only" was released in 2022, with almost the same lineup – only the guitarist position was recast – and now the follow-up album "Once There Was" is out. The musicians have been active in the music business for quite some time. Drummer Robert Hutchinson, for example, was a founding member of Holding Pattern and also played on their legendary album "Majestic," which also featured singer/bassist Jeff Brewer.

The current album begins with two longer songs: the 14-minute 'Unholy Waters' and the 12-minute "Crossing Pangea". The opener immediately evokes a bit of the UK, with the vocals reminiscent of Realm (“The Path”). This offers great symphonic prog, with guitar and keyboards playing equally well. "Crossing Pangea" is an instrumental track that starts off rather sedately with synthesizer pads until the drums kick in and pick up the tempo with a decent amount of drive, leading into a lively prog number with a moderate degree of fiddling. "The Following" is another melodic vocal track, followed by 12 short pieces, all of which can be played individually but belong to a single long track: the title track.

Not only is the well-coordinated interplay of keys and guitar impressive, the Holding Pattern rhythm section also delivers outstanding work, with some lively drumming and a fat Rickenbacker bass. On the title track, all stops are pulled out, adding a touch of fusion to the symphonic rock. The music remains exciting from beginning to end, piqued by interest in the previous album as well as curiosity about future achievements from this interesting band.

by Thoralf Koß. April 16, 2025.

Once upon a time...

That's how many fairy tales begin...

But not only that. Because that's also the title of an entire album by The Far Cry, the progressive rock quartet from Connecticut, who go into great detail on "Once There Was" and go back to the time when progressive rock was incredibly lively and popular - in other words to the 1970s. It also serves a wonderful prog narrative that has become established as a real mark of quality, especially through bands like Yes, Genesis and ELP: "The true mastery of a prog band comes through in its long tracks." That's why The Far Cry's current, now second album contains just four epic long tracks in its hour-long running time, of which the longest, the title track, divided into 12 acts, easily spreads its progressive (un)being for over half an hour.

But there are also a few gaffes to be discovered, such as when the end of the nearly 15-minute, thrilling, and clearly IQ-oriented album opener "Unholy Waters" falls victim to a shabby fade-out. The song, which begins with a loud background noise (storm, rushing water, aircraft and train noise), could have ended with a similar soundscape.

But then there's the twelve-minute "Crossing Pangea", a great piece straight after, in which the band goes into great detail, combining top-notch instrumental prog with plenty of acoustic elements - especially a piano and a drum solo - and the occasional jazz twist, but in the strongest moments still always relying on the bombastic and symphonic progressive rock that often evokes memories of ELP.

And at the same time it brings back memories of “If Only...”, the not quite as successful 2021 debut of the prog foursome from Connecticut, which is now clearly surpassed with “Once There Was”, also because this time the sound is much better mixed and really fat, including successful stereo effects and sound structures reminiscent of the 1970s.

The title track then enters the good old art rock days with the opening instrumental “The Rising”, which is unmistakably characterized by a guitar reminiscent of Mike Oldfield. In the half hour, the album meanders through the most beautiful cross-references to the prog classics from Yes to Genesis and ELP, but also ventures a few electronic detours towards ASHRA (the instrumental “III: Dimension Of Darkness”) and is guaranteed to bring joy to all contemporaries who have the aforementioned comparison bands close to their hearts.

Of course, some of it sounds so similar to the great role models that when listening you are constantly asked: Where do I know this passage from? And where does this part come from? At the same time, the overall rather dark suite takes a critical look at the development of America, which presents the past as quite impressive and hopeful, while the present appears to be in an increasingly dark light, but at the end in “Now The Sun” a rainbow adds color to the gray sky and opens your eyes: “And you will stand with open eyes // And look across expanded skies,” and ends with the atmospheric instrumental “XII: And Ever After.”

The very well-designed digipak, including the 12-page booklet with all the lyrics, also confirms the really good and magical overall impression that “ Once There Was ” leaves behind when listening to it, which is sure to be a pleasure for every prog rock fan.

CONCLUSION: In the spirit of good, old, classic progressive rock, the prog Americans The Far Cry live it up on " Once There Was " to the fullest, incorporating all the prog trademarks (long tracks, bombast meets acoustics, changing tempos and time signatures, atmospherically expansive, epic sections and connecting instrumental interludes, etc.) in an impressive way that also clearly refers to their role models (ELP, Yes, Genesis, etc.). Thus, this album, whose title alone seems fairytale-like but whose lyrics are also critical, actually becomes - not a fairytale from a thousand and one nights, but - a fairytale from the 70s progressive rock universe, one that one will only too gladly listen to again and again in memory of the great achievements of that decade.

by Jacco Stijkel. March 2025.

The American band The Far Cry debuted in 2021 with the beautiful "If Only". It was a debut, but by very experienced musicians. For the history of this band I would like to refer to my review of "If Only". Now, four years later, The Far Cry is back with a new album titled "Once There Was". Guitarist Bryan Collins has packed his bags and after placing an advertisement, a replacement was found in Brendan Kinchla. On this new CD the Americans also make ingenious classical symphonic rock. The connection with the big names from the 70s is never far away, and so is the American interpretation of neo-prog and a touch of AOR. I especially like how The Far Cry alternates keys and guitars. Again: real classic symphonic.

The album starts with Unholy Waters. This song clocks in at about fourteen minutes. Unholy Waters starts a bit busy. It is immediately noticeable how dominant Chris Dabbo's keys are. The vocal lines are quite accessible and contrast nicely with the somewhat unruly music. Because of the tempo changes, the song is nice and varied. I especially like the instrumental part of this song, especially when guitarist Brendan Kinchla gets all the space to solo. After that, The Far Cry returns to the opening theme and the song gets an atmospheric finale. Too bad about the fade out, but there is so much to enjoy musically that I forgive the band for that.

The second song is Crossing Pangea. This is an instrumental song of about twelve minutes. The song starts a bit mysterious. If I have to summarize it briefly: wonderful keyboard-oriented symphonic where the other band members also get enough space. And the vocals? No, I don't miss it. Every time I listen to this album, "Wind and Wuthering" by Genesis comes to mind. And then it's mainly about the atmosphere of the music. The Following is a ballad in which the piano in particular is central. It's a good song, with a very decent keyboard solo as well.

And then we have arrived at the prize piece of this album: the twelve-part opus Once There Was. It takes half an hour, but time flies! The Far Cry are clearly at their best when they can really pull off. This epic is about small-town life in the Americana of the fifties and sixties and what has happened since then. Once There Was starts with The Rising. A beautiful instrumental that gives voice to how the town is waking up. A beautiful guitar melody floats over quiet mysterious keys that comes back more often. This is followed by the title piece that exudes nostalgia. The relative peace of that period is recounted. A band like Iluvatar comes to the surface, especially because of the American approach to neo-proWith the beautiful instrumental Dimensions of Darkness, impending doom is on the way. This reminds me a lot of, for example, IQ. Gathering of Shadows heralds the beginning and the end: the peace is over, things have definitely taken a different turn. The small town cannot escape a system and program of total control either. But this ultimately leads to societal collapse. In the bouncy Falling In Line, a bridge is built to a society that is being rebuilt. Is it possible to get back 'what once was'? In the end of this opus, The Far Cry recounts that there is not only hope to recapture 'what once was', but that there is a future that far exceeds that.

Anyway, The Far Cry brings together elements reminiscent of Genesis' Supper's Ready and "The Lamb Lies Down On Broadway" with neo-prog in a convincing epic. Especially the variety in tempo and atmosphere and the beautiful melodies (which are both nostalgic and modern) make me enjoy listening to Once There Was. What I also like is that it sounds like a rounded whole, and not fragmentary with pieces of music that are stuck together. In my opinion, The Far Cry has made a great piece of music with the epic Once There Was. The other songs also give more than enough to enjoy for the lover of classic symphonic rock. I was already pleased with their debut, I really think this album is a lot better.

by Randy Radic. March 19, 2025.

Prog-rock outfit The Far Cry recently released their new album, Once There Was, a collection of songs reminiscent of ’70s progressive rock bands such as King Crimson, Yes, Emerson, Lake & Palmer, Genesis, and Gentle Giant.

Made up of Robert Hutchinson (drums, percussion, bells, spoken word), Jeff Brewer (vocals, bass, bass synth, bass pedals, guitar), Chris Dabbo (piano, keyboards, vocals), and Brendan Kinchla (lead guitar, acoustic and electric guitars), The Far Cry’s music engages superb arrangements, atmospheric melodies, soft interludes, shifting tempos and time signatures, expressive vocals, and thoughtful lyrics.

Encompassing 15 tracks, Once There Was presents a fascinating musical work of art. Suggested entry points include the lengthy opening track, “Unholy Waters,” conjuring up memories of Emerson, Lake & Palmer, with dollops of Styx infusing the tune with a scintillating quality. Hutchinson’s drumming, simultaneously finessed and sharply balanced, perfectly accentuates the altering melody.

A personal favorite because of its portentous, oozing intro, “Crossing Pangea” rolls into a dazzling, gliding motion that soars, wheels, and pirouettes on soaring guitars and a twinkling piano. It’s a shapeshifting song full of changing textures and color patterns.

“Dimension Of Darkness” conjures up the magical mood and shadows of Ridley Scott’s film, Legend – at once eerie and enchanting. While “Falling In Line” blends flavors of Styx-like rock with tangs of Rush-like synthesizer surfaces into an electrifying listening experience – as if standing in the path of an oncoming hurricane.

“And Ever After,” the final track, features shimmering guitars riding on resonant darker tones as oscillating synths imbue the melody with glassy, chiming facets. The harmonics evoke the feeling of sailing slowly through the Empyrean with its myriad hues and enveloping misty tendrils.

Suffused with an alluring freshness that makes it much more than just another prog-rock album, Once There Was is outstanding.

by John Wenlock-Smith. March 15, 2025.

I came across ‘Once There Was’ via a post from Don Skazin on the Prog Explorations Plus Facebook page and was suitably intrigued enough to reach out the band offering to review the album for Progradar, proof indeed that social media can make a difference. I contacted Jeff Brewer, The Far Cry’s vocalist and bassist who very kindly sent me a CD of the album to get to grips with.

The album has four songs, ranging in length from the short (by their standards at least) The Following through the longer tracks, Unholy Waters and Crossing Pangea, to the truly epic 12-part title track Once There Was. Alongside Jeff are Robert Hutchinson on drums, percussion and spoken word, Chris Dabbo on keyboards and vocals and finally Brendan Kinchla on guitars. The album is encased in a neat digipak sleeve with a booklet with full credits and lyrics.

To my ears, Unholy Waters bears a strong resemblance in sound to the legendary band U.K. Especially in both the keyboards and vocals. This is not a criticism, merely a comment that do find this track similar in style. Mind you, I like U.K. a lot, so this works for me too. Many a band wear their influences on the sleeves clearly but, when the music is as good as this, it doesn’t really matter or devalue it at all, especially as U.K. are no longer in existence as such. The song concerns itself with mysterious places like the Bermuda Triangle and the like and the lyrics reflect this very convincingly. I especially like the strong bass work from Jeff and the Holdsworth-esque guitar line from Brendan, which adds great dynamics to the very impressive sound of the album.

Crossing Pangea is an instrumental with a suitably journeying sound to it, giving the impression of movement or travelling. There are lovely fluid guitar lines running through it and the urgent rhythm section powers the track along very happily and impressively. I really do like this track as its moods are very strong and different showing that these musicians are very talented and highly competent in their playing abilities.

There are some great piano and synths on this track and it rattles along through its twelve and half minute run time in some style. There’s a great bass part from Jeff on this track, really strong and when overlayed with the keyboards of Chris, it sounds really splendid. This piece is an evolutionary stroll of a track, very impressive stuff really, especially in the closing part of the song. Next is the shorter The Following which commences with a rippling piano line. The song addresses the futility of war as told in the story of blind allegiance and following such leadership. It questions why we follow such dangerous leadership into destruction and pain and it makes a strong and valid point.

The final track is the album’s multi-part title track Once There Was. This consists of twelve parts of which five are instrumental in nature. This is a very interesting song with lots happening in its various sections. The song addresses the demise of a town as it gets left behind as life changes, often in unexpected ways. There is a long keyboard based solo on The Agitation section of the track, all very ELP like in nature. The Far Cry are certainly unafraid to show their influences in such a manner. In fact, I find their approach very refreshing and I like how they pay honour to the past greats by using their sounds as a template for creating something that is their own. This is far better than the plagiarism that can be a component in many modern prog bands rather than treading the delicate balance between homage and the forging of a new path. This song was the first written for this album apparently, with parts from various members being worked on together to make this epic piece of music.

On ‘Once There Was’, I find that The Far Cry have found a balance that works in their favour, and that’s no mean feat. This is to the commendation of the band and bodes well for future releases they may make. I really think this album will appeal to many prog Fans as a band like The Far Cry are truly making new wine from old skins, as they say. So, if Neo-Prog is your bag then you must check these guys out for yourself.

by Mike Mineo. March 3, 2025.

A vibrant prog-rock appeal shines throughout Once There Was, the new album from Connecticut-based band The Far Cry. The band’s co-founders, Jeff Brewer and Robert Hutchinson, first collaborated in the mid ’70s with a rock covers band, which lasted briefly. They both were members of the band Holding Pattern, though at different points. It wasn’t until 2013 when Brewer and Hutchinson met up again, and decided to kickstart the project that would become The Far Cry.

The founding duo are joined on the album by keyboardist Chris Dabbo and lead guitarist Brendan Kinchla, now comprising the project’s current talented lineup. They take a clear, proud influence from prog-rock bands of the ’70s — specifically King Crimson, Genesis, Yes, Gentle Giant, and Emerson, Lake & Palmer. A dynamic tonal sound impresses throughout, spanning from the triumphant synth/guitar soaring of the opening “Unholy Waters” to the hard-rocking vigor of “Once There Was / Videosyncrasy” to the lush, spacey intrigue within “Once There Was” / What Once Was.”

An enveloping epic that spans over 12 minutes, “Crossing Pangea” is particularly exemplary of the band’s commanding musicianship and tendency for gripping structural expanses. The initial synth work emits a chilling, otherworldly tone that sets in motion a quest into the unknown. Guitars then enter with fervent intensity, energizing with jangly undercurrents and ascending, elongated lead. Lovely piano work also excels into the four-minute turn. Invigorating guitar and synth interplay immerses through the second half, serving as one of many riveting highlights within The Far Cry’s Once There Was.

by David Edwards. March 1, 2025.

One of my earliest album reviews for The Progressive Aspect was for The Far Cry’s debut release, If Only back in the summer of 2021. The American symphonic/melodic/neo-prog band from New England impressed me with their range of songs, a contemporary lyrical edge and the way they mixed 70s classic progressive rock with more modern elements and even hints of AOR/pomp rock. Symphonic prog epics were intertwined with shorter musical interludes and more eclectic pieces to create a very satisfying listening experience.

When nothing else emerged in the band in the years that followed, I just assumed the album would be a ‘one-off’ from the seasoned musicians, as they followed other musical paths. Thankfully, the arrival of their sophomore release has dispelled that thought. Once There Was is a truly wonderous album that has even managed to top their excellent debut, in my humble opinion.

Founding members, Jeff Brewer (bass and vocals) and Robert (‘Hutch’) Hutchinson (drums and percussion), have revealed that the hiatus was largely the result of their talented guitarist Bryan Collin deciding to leave the band to pursue his musical interests and projects. It was a gaping hole to fill, but eventually they found Brendan Kinchla, a graduate from the Berklee School of Music, to fill it. The decision to bring keyboardist Chris Dabbo fully into the band for this album, and welcome his compositional input, has put the musical jigsaw back together. I can testify that the synergy between them is simply stunning.

Whilst Once There Was might only have four songs, almost all of them are made up of a diversity of multi-faceted sections – no more so that the 12-part epic title song that closes the album. The result is a wonderfully indulgent instrumental maelstrom where the various musical sketches have been stitched together into a lovingly flowing structure that excites and surprises throughout, whilst the thoughtful and contemplative lyrical content provides the coherent structure that creates a solid foundation throughout the album. The elements might not be particularly new or groundbreaking, but the way The Far Cry assemble 70s classic-era prog, 80s neo-prog and contemporary USA-flavoured prog, certainly is!

The album opens with the spectacular epic, 14-minute Unholy Waters. Jeff’s original concept focused on the mysterious Bermuda Triangle-like incidents at sea, but this has been broadened to include the many disasters and lost, ocean-bound ships and disappearing planes over the ages, and the tales that might lie in wait to be told from the bottom of those ‘unholy waters’. The song begins atmospherically with the sound of distant ship fog horns in a stormy sea and plane falling into the waters. Jeff’s deep bass notes are joined by Hutch’s pounding drums and builds up a musical tension over which Chris’s keyboards and Brendan’s guitar soar, before the synthesisers rise high. There is then a lull as Jeff’s light, almost yearning vocals commence and set out the song’s narrative:

“Further than the eye can see
Over the rim is a mystery.
Messages sent though truth concealed,
In each event no reason revealed.”

Musically, the instrumentation twists and turns refreshingly, with Chris’s slabs of keyboards very reminiscent of Eddie Jobson’s Yamaha CS-80 sound on UK’s debut (especially In the Dead of Night), with the rhythm section trotting and often galloping along. Slabs of resonant bass heralds in some vibrant keyboard playing followed by some more melancholic patterns. Brendan’s electric guitar now takes centre stage and is rich and uplifting and takes the song to yet another level. However, the mood darkens with the sound of sonar ‘pings’ and the return of the bass and drum interplay, and the guitar’s tone is less hopeful. We return to the original musical theme, and there is very much a Yes-like feel to both the music and the playful vocal harmonies at times too.

“Sailing Ships and flying machines,
Never again were they to be seen.
Forces and elements they didn’t know,
Unholy water above and below.”

Delicate piano begins the majestic and bombastic conclusion and more gorgeous lead guitar lines, joined later by stabs of keyboards before gradually fading into the distance. As a calling card for the album – it is an impressive one.

Crossing Pangea is an expressive and extended (over 12 minutes) instrumental, largely consisting of Chris’s compositional fragments which have been brought together by the whole band, with Jeff arranging much of it. The title reflects on the varied musical themes and sees them as a musical diversity of perceptions and energies needed to traverse this vast and ancient super-continent over its past epochs.

Ominous bass and a chordal background begin the track, before a fanfare of synthesisers are introduced. Hutch’s busy drums break the musical tension, and we gallop away with some great ensemble work and chiming and lyrical lead guitar over lush keyboards. Piano and guitar dance around each other effortlessly and there is even a hint of Keith Emerson-like melodious touches and fusion influences. Jeff’s thunderous bass introduces a swirl of keyboard pyrotechnics and later more guitar virtuosity, to delight any old-school prog listener, sandwiched around an atmospheric and desolate soundscape. Hutch’s intricate drumming has its moment in the sun, before the whole musical tapestry concludes with a grandiose finish, although not without a final rhythmic flurry and a serene, hanging chord to ponder. In many ways the track reminded me of a keyboard led La Villa Strangiato (by Rush) where the various strands are somehow weaved into a coherent and challenging whole.

For the complete review, please visit The Progrssive Aspect website.

by Jacco Stijkel. September 14, 2021. Translated from Dutch.

The history of The Far Cry goes way back, way back. Jeff Brewer and Robert Hutchinson share a great love for music from a young age. Initially The Beatles, but in the 70s they are fans of the classic symphonic rock bands: King Crimson, Yes, Emerson, Lake & Palmer, Genesis and Gentle Giant. In 1976 Jeff and Robert meet for the first time around the formation of a cover band. Later they are members of the prog band Holding Pattern, but never at the same time.

In 2013, Robert buys a set of speakers from Jeff. The two men talk further and decide to pursue their dream of starting a progressive rock band together one more time. This is how The Far Cry begins to take shape. The men compose music and guitarist Bryan Collin joins the band through an advertisement. A good keyboard player is hard to find. Studio owner and engineer John Buldoc points them to Chris Dabbo. This keyboard player makes an impression and Dabbo soon becomes part of The Far Cry. With “If Only…” this American band makes its debut.

Usually you associate 'debut' with young dogs, but it is clear that The Far Cry consists of seasoned and excellent musicians. With “If Only…” a fine blend of their heroes from the 70s, American prog and AOR (Kansas / Styx) is offered, which certainly tastes like more. The opening track The Mask Of Deception is a good example. On the one hand you hear sympho that is deeply rooted in tradition, King Crimson-like twists, but also a very accessible chorus. The musical interlude in this track is excellent.

Programophone is an old song, from 1983. It is musically fine, but the 'spoken word' in this song really gets on my nerves. But okay, this is just personal.

Simple Pleasures is a very nice song. On the one hand heavy symphonic, but also nice accessible vocal lines that remind me of Styx and Kansas.

The highlight of this CD is without a doubt the title track for me. If you are a fan of classic symphonic rock, you will be right at home here. The foundation may have been laid by Brewer and Hutchinson, but I personally think that keyboard player Chris Dabbo really steals the show. To give you an idea: American prog meets IQ with a touch of Rush. The Far Cry goes all out, shows off their musical skills but the song always remains central. The beautiful twists in the song make you keep listening. A symphonic party. With Winterlude and Winterlude Waning the album offers two instrumentals. The closing track Dream Dancer is also instrumental. It is beautiful, but it is somewhat overshadowed by the songs I just discussed.

In my opinion, “If Only…” is a strong album. In the biography, the band indicates that it is their wish that you listen to the music with a fantastic set of headphones. I understand that well. The power of the music comes through strongly via the hifi, while the details come through more via the headphones. And you hear how ingeniously the music is put together. In short, The Far Cry knows how to combine complex and accessible progressive music into a convincing whole. Moreover, the band can still grow. I expect that The Far Cry can deliver an even more consistent album. I am very curious about what beautiful things these Americans can create in the future.

by Philippe Thirionet. February 21, 2022. Translated from French.

Concept album, neo-classical, neo-progressive, rock-progressive

Obviously the members who compose this project are far from being neophytes, since Jeff Brewer and Hutch (Robert Hutchison) who met for the first time in 1976, have worked in the 80s and 90s through many musical initiatives. Today the two companions come to titillate our ears with this concept-album for which, they were supported by two other musicians Bryan Collin and Chris Dabbo in order, to offer us a magnificent progressive collection that brings together all the archetypes and codes related to the realization of a great concept-album focused on a vintage progressive mixed to the taste of the day! Moreover, it is an epic first song of more than 11 minutes that opens the album from the outset, a complex orchestration and an atmosphere both aerial and spatial before plunging into a quality progressive rock. We find here the architecture worked as for the compositions of Spock's Beard, the Flower Kings or even the Neal Morse Band with here too, a song both electronic and classical all offering the listener an elaborate neo-progressive worthy of the greats of yesterday and today!

As these many technical passages or demonstrations on synths, bass or drums remain nice to listen to since, the result tends towards a melodic mode while knowing that for the bass, the latter gives punch to help the guitar flights which are also perfectly executed within a first composition that seems to me personally beautiful and perfectly accomplished with here and there breaks and counter-breaks always supported by the rhythm section... nothing to throw away but the opposite...!

Radio dialogues and narrations obviously complete the complete panoply of the perfect concept album with it seems to me, a real treat for all lovers of the genre who already after the first two songs, have something to delight in. A short acoustic piece follows, always presenting a careful work before an epic piece of more than 13 minutes.

These very beautiful and long compositions that honor the middle of progressive and that of concept albums provide a complex and diversified orchestration, ranging from rock-progressive to neo-classical with either melodic passages and more sinful moments. It's like that throughout the opus with, for example, these many scents of synths bringing a modern and spatial coloration. Ditto for the technical work of the rhythm section as well as, for the guitar and the singing that complete an impeccable musical content that also looks towards vintage and therefore towards the great bands of yesterday (King Crimson, Yes, ELP, Gentle Giant...)!

by Jon Neudorf. Published January 23, 2022.

Robert Hutchinson and Jeff Brewer first met in the ‘70s and would eventually perform together in the American band Holding Pattern in 1981, lasting for around ten years before disbanding in the early ‘90s. The band reformed in 2007 and have a couple of albums to their name. In 2013 the two musicians would meet up again and eventually form the band The Far Cry with their debut album titled If Only…, released in 2021.

The band play a style of retro prog with, at times, a good amount of heaviness. The guitar playing is both melodic and creative and the rhythmic interplay is very tight as the band displays excellent musicianship throughout the disc’s eight tracks beginning with the fine “The Mask of Deception”. This is a good example of heavy prog where the veteran players really show their stuff. The vocals are also very good, mixed with spoken word and enhanced sections.

Very nice the "romantic" instrumental fragment in the second part of the song, before the initial grit takes over. "Simple pleasures" develops the most symphonic soul of the American quartet, approaching the suggestions proposed by Yes or, for the more pompous side, to Styx. Very successful, even here, the central insert with piano and acoustic guitars to take the limelight, before the excellent "solo" of synth. The title track contains, in its sixteen minutes, not only the best of the album, but also a compendium of the best symphonic prog from the '70s to today. There is the acoustic introduction entrusted to the guitar, there are the brilliant keyboards of Dabbo, there is the "ambient" moment and, again, the "divertissement" à la Gentle Giant, or the new prog to the I.Q (in the "The wake" area), without forgetting some heavy spark. In short, a florilegio of different sensations, but well assembled with each other.

If these tracks are the fulcrum of "If only...", let's not forget the short "Winterlude", sweet interlude for acoustic guitar and "Winterlude waning" for piano solo. Longer and more articulated (but always only instrumental) are the epic "The missing floor" and the etheric and refined "Dream dancer". The almost rap (!!!) of "Programophone" does not affect the value of an album that has proved to be a pleasant surprise to demonstrate that, with a little patience, you can still find realities and bands worthy of note.

by Jon Davis. Published January 9, 2022.

If Only… offers proof that the old prog dinosaur is not dead — in any creative sense, at least.

This may be the debut album by The Far Cry, but it’s a fully-formed effort brimming with the kinds of sounds that made progressive rock so exciting in its heyday, and somehow they also manage to avoid the pitfalls that led to the genre’s demise. Listeners familiar with the classics will find hints of Yes, Genesis, Gentle Giant, Kansas, Utopia, and more, but all blended into a sound that doesn’t come off as derivative.

The album consists of eight tracks, with three substantial pieces over ten minutes in length, three mid-length songs, and two shorter interludes.

The Far Cry excels at all lengths, producing music that presents complexity in a relatively accessible way, combining melodicism and power. You’ll hear outstanding keyboard work from a wide array of instruments, full of classic tones but not sounding retro or fetishistic.

What you won’t find is any influence from metal — while the guitar playing is stellar, it avoids the tropes of heavy rock. My favorite track is probably “The Mask of Deception,” which features some wonderful complex chords that inject a little hint of King Crimson into the mix, but it also features a great synth solo that is more Relayer than Red.

The Far Cry is a shining exponent of modern progressive rock that isn’t influenced by Porcupine Tree, and a strong contender for debut album of the year.

by Valentino Butti. Published October 2021. Translated from Italian.

One of the long-standing issues involving fans is the alleged "inability" of US bands to produce good prog.

Not belonging to this "current of thought" and indeed considering the prog made in the USA, since the seventies, rich in creativity (although not supported by large numbers under the heading "sales"...) and remarkable bands, sometimes, unknown, here when I discover some new American group, I faint in the hope of finding something qualitatively interesting. So it happened for Far Cry: attracted by the beautiful cover, after a quick look at the duration of the tracks and the "park" of the instruments present, listening was a must. I certainly did not expect a masterpiece, but the abundant hour of proposed music divided into eight tracks, has amply justified the deepening.

Robert Hutchinson (drums) and Jeff Brewer (vocals, bass, guitar) have known each other since the seventies and in the eighties they were part of a prog band, Holding Pattern, rather known among the most attentive fans. In 2013 the two met to give life to a new project that, merged also Bryan Collin (electric and acoustic guitars) and Chris Dabbo (keyboards and vocals), with the name of The Far Cry finally arrives at the debut album.

The two artistic "lives" of Hutchinson and Brewer (the 70/80 and the one of today) create a hybrid in which the proposed sounds recall Yes, Styx, but also Spock's Beard and Dream Theather. The lion's share on "If only..." the three longest tracks make it: the initial "The mask of deception", "Simple pleasures" and the title track. The approach in "The mask of deception" is quite heavy, with electric guitar and keyboards to take off in Spock's Beard mode, but always with an eye to the melodic aspect that, fortunately, never fails.

Very nice the "romantic" instrumental fragment in the second part of the song, before the initial grit takes over. "Simple pleasures" develops the most symphonic soul of the American quartet, approaching the suggestions proposed by Yes or, for the more pompous side, to Styx. Very successful, even here, the central insert with piano and acoustic guitars to take the limelight, before the excellent "solo" of synth. The title track contains, in its sixteen minutes, not only the best of the album, but also a compendium of the best symphonic prog from the '70s to today. There is the acoustic introduction entrusted to the guitar, there are the brilliant keyboards of Dabbo, there is the "ambient" moment and, again, the "divertissement" à la Gentle Giant, or the new prog to the I.Q (in the "The wake" area), without forgetting some heavy spark. In short, a florilegio of different sensations, but well assembled with each other.

If these tracks are the fulcrum of "If only...", let's not forget the short "Winterlude", sweet interlude for acoustic guitar and "Winterlude waning" for piano solo. Longer and more articulated (but always only instrumental) are the epic "The missing floor" and the etheric and refined "Dream dancer". The almost rap (!!!) of "Programophone" does not affect the value of an album that has proved to be a pleasant surprise to demonstrate that, with a little patience, you can still find realities and bands worthy of note.

by Eric van den Bosch. Published September 25, 2021. Translated from Dutch.

When the opening of "The Mask Of Deception" hits a riff after an dramatic intro, you can't help but think King Crimson! It turns out to be the first of many moments of recognition on If Only… by the American group The Far Cry.

In the 1980s, drummer Robert Hutchinson and bassist/vocalist Jeff Brewer were in the same prog rock band, Holding Pattern, albeit not at the same time. They didn't get to work together until 2013. They had a great idea of what they wanted to do, but finding the musicians turned out to be difficult. Once they had actually decided to go into the studio they found guitarist Bryan Collin and, thanks to the studio owner/engineer, they found a keyboardist in Chris Dabbo. The Far Cry was complete.

That the project took a long time is also apparent from the fact that between the tracks there is one from the Holding Pattern days — from 1983! Funny detail is that it sounds a bit more modern than the rest because of the spoken word element. Anyway, the gentlemen are especially fond of prog from the seventies and eighties and you notice everything. Long, long tracks (three well over ten minutes) and the better musical theme, in which you recognize a lot of King Crimson and especially Yes.

At the same time, you also hear more modern influences such as Saga, Spock's Beard and even Dream Theater. That may sound less nice than it's meant to be. However, there is no reason not to remain positive: the gentlemen know how to keep real songs in the long tracks, and that is something that the aforementioned bands do not always succeed in.

Because between all those influences and the recognition of Chris Squire basslines, King Crimson riffs, Emerson, Lake & Palmer piano parts, Saga guitar/keyboard duels, Marillion guitar parts and Spock's Beard melody you hear above all a band with an incredible amount of fun. and making music with conviction. No matter how obvious the influences are, they combine it into something that stands alone and has a variation and tension in the tracks and the entire album that makes you listen captivated for more than an hour without any effort. Virtuoso and captivating don't always go together in prog, but here they do.

by Mark Kadzeilawa. Published August 19, 2021.

The Far Cry really took me by surprise. This prog ensemble literally shows up out of nowhere and delivers the goods. Vocalist Jeff Brewer and drummer, Robert Hutchinson put this band together. Both Brewer and Hutchinson are veterans of the prog and rock scene, but The Far Cry might just be their goldmine.

The music on If Only… is very well developed. The experience is very visible here, and they fully use it to their advantage. The songs are very richly structured, and it’s a very lengthy delivery. The band allows the tunes to develop. At times, you feel like you’re back in the 1970s listening to prog rock at its best.

My current favorite is the title song, but for awhile I favored the opening “The Mask Of The Deception.” So, as you can see the album is still growing on me, but the goods are definitely there. It will be interesting to see what a month of listening to the record will do. Any of the eight tracks included here has its own personality, yet they all come together as a great album.

The packaging is really great, too. There is something about this cover that completely stands out. It’s one of the few times when you know you’re going to like this even before you hear a note, and luckily, the music only confirms this. The Far Cry was able to match their music with great visual art.

Musically, it’s hard to pinpoint them. The songs are long with a lot of tempo changes. At times, it feels like old Genesis, but only in parts. The Far Cry has their own style, and there is no doubt about it.; they excel at what they do. What’s consistently true is that there is a strong 1970s influence here, which works for the band.

If Only… is like a coloring book. There are so many images this music is capable of. The Far Cry is definitely a band to watch out for, and I hope there is more to come from this very talented group.

Rating: A

by David Edwards. Published August 2021.

If Only is the impressive debut release by the American symphonic/neo/melodic prog rock group The Far Cry. It is a refreshing and varied collection of tracks which, whilst showing the musician’s own influences – from the classic ’70s prog/classic rock period, through the neo-prog era and on to more modern prog – creates a musical landscape that is a unique mix of all of these as well.

Jeff Brewer (vocals and bass) and Robert Hutchinson (drums and percussion) first met in 1976 as part of a short-lived rock covers band, and later would be involved in the Connecticut progressive rock band Holding Pattern through the ’80s and ’90s, though not simultaneously. However, it was not until 2013 that the seeds of The Far Cry were sown, when the two friends reunited and decided to push on together with a dream of forming a new progressive rock band to showcase their love of the prog rock giants, whilst shaping the sound into something more contemporary. Finding suitable musicians in the New England area was not easy, but Bryan Collins (guitar) subsequently joined the band as they began work in the recording studio, and when Chris Dabbo (keyboards) was recommended by the studio owner John Bolduc – initially for session work – the final piece of The Far Cry jigsaw had been found.

These seasoned and talented musicians steadily evolved the band sound over time (including the extended pandemic period), and have finally produced their debut album, If Only, this summer. It is clearly a labour of love that demands a much wider audience amongst progressive rock fans who value melody, subtle complexity and a symphonic prog panorama. Although it has a loosely-based concept linking common threads of human emotion and perspective meeting real human conditions, the compositions are varied in style, atmosphere and duration, making them an enjoyable and eclectic listening experience individually, but perhaps working best when listened to in one session.

As Jeff told me, “We didn’t set out to write a concept album, as such, yet as the writing and recording evolved, and many of the longer tracks were completed, we began to want to structure the album, so it had a flow, to give the listener a complete musical experience rather than just have eight separate tracks. This is what was great about those early bands from the ’70s. In those days you put on a set of headphones, turned down the lights, closed your eyes and immersed yourself in the music from beginning to end. So, we wrote shorter, mellower songs to cleanse the palette, if you will, from the heavier pieces and allow the listener to take that complete journey, so to speak.”

The opening track, The Mask of Deception, was one of the last pieces written for the album, with lyrics co-written by Jeff and Robert reflecting the steady erosion of freedom and personal choice resulting from big government’s handling of the pandemic in the USA. It begins with dark, foreboding keyboards, barked orders and the repeated mantra “Take the shot or the bus to camp…”. Jeff stresses it is not specifically an anti-vaccination track, but hints at a darker, futuristic world order where the control over us and loss of individual liberties could become all-pervading – especially from the perspective of recent years. Strong stuff indeed, and the acerbic lyrics are matched by the power and complexity of the music. Dream Theater-style guitar/keyboard intermeshing and tempo changes introduce a playful, but mocking tone to the vocals, akin to Spock’s Beard, with a stalking rhythm propelling the ensemble-based music onwards. There is even some alto and tenor saxophone in the musical melting pot. A refreshing mid-way change signals some extended keyboard noodling from Chris, with expressive guitar solo lines from Bryan, before a return to the original theme.

Programophone is an entirely different style of track, with a spoken diatribe by Robert about the programmed control that streaming organisations and the media have on the music we listen to: “I’d say it’s mechanised madness beyond our control, as we’re forced fed our daily bread of prescribed rock ‘n’ roll.” A spritely keyboard, drums and bass pattern forms a foundation to the almost rap-style delivery of the angry, occasionally explicit, lyrics. Hints of Frank Zappa, perhaps? Some more typical progressive musical patterns keep the music fresh throughout. Challenging and complex prog for sure and maybe not to all tastes, but the band’s ambition and vision is to be applauded.

Winterlude, the first of the shorter instrumental pieces, provides an immediate contrast and signals the album’s shift into more traditional symphonic and neo-prog soundscapes. Delicate acoustic guitar and Peart-like twinkling percussion dominate this calm and evocative track, providing a gateway into the heart of the album.

Simple Pleasures is an undoubted highlight. Highly melodic and accessible, a Howe-like guitar motif heralds this vibrant slab of melodic progressive rock. Fans of Starcastle, Styx and Glass Hammer will lap up this track and there is also an Asia-like AOR feel to the vocals and instrumentation that makes it very easy on the ear. Nicely pitched vocals from Jeff set the tone well: “Simple pleasures so sublime. Hidden treasures of the mind… Taking in the veranda’s moonlight. Savouring a fine Beaujolais. Follow shooting stars in their flight. Contemplating the close of day”. The middle section has some expressive and gently paced Emerson-like piano before being progressively added to by the rest of the band, including some swirling keyboard and synthesiser work (flute sounds from the bass too) and lively electric guitar soloing (with subtle referencing of Yes and Styx), all before the main theme reprises as the track concludes with a gentle fade.

The Missing Floor is a more extended and darker instrumental and once again the compositional complexity of Dream Theater, and even Liquid Tension Experiment, come to mind. Intricate playing and instrumental mastery by the whole band dominates the sound, but then there is a change in atmosphere from dark to light towards the end, and the tone becomes more optimistic and brighter. Winterlude Waning is the piano-led companion piece to Winterlude, with stately grace and grandeur, especially when lush keyboard/synthesiser accompaniment briefly washes over the delicate theme. Another example of the album’s ebb and flow in mood that shows why the album is best enjoyed in one complete listen.

The title track is the longest on the album at over 16-minutes, and is undoubtedly the cornerstone that defines what The Far Cry are all about. A multi-faceted epic with shifting tempos, power and styles which continually entertains the listener with its twists and turns. There is a poignant link to the CD artwork of an empty Versailles-style theatre (an atmospheric photograph of the New Bedford Orpheum Theater in Massachusetts along with its empty seats) and the sadness of musicians not being able to perform during the last year or so – and whether things will ever be the same for many. The lyrics emphasise the passage of time and the melancholic yearning for the past; “Oh… To be young once more. When every day seemed an open door”, and they combine with the wonderfully melodic music – one minute dynamic and bombastic, and yet mellow and contemplative the next.

It begins with a gentle, acoustic guitar introduction, then a Europe-like keyboard call, followed by powerful guitar and keyboard interplay and Spock’s Beard-style vocals. A haunting Awaken-like interlude, the ticking of a clock over a delicate piano and guitar theme before Gentle Giant-like vocal pacing and then some full-blown symphonic prog flights of fancy from Bryan and Chris. However, at all times, Jeff’s bass guitar and bass pedals and Robert’s exuberant drumming keep everything grounded. The epic concludes more hopefully with a defiant shout of “I will fight. I will fight, I will face my fears and fight again” and a fading march to drums into an uncertain future.

It is a tough song to follow, and final track Dream Dancer does not attempt to compete with it. Instead, it is a gentle instrumental coda, with Jeff’s soothing bass notes sprinkled over a wistful wash from his bass synthesisers, building slowly to perhaps emphasise a sanguine feel for what the years to come might bring us all.

If Only is a confident, ambitious and assured album by excellent musicians that has a broad range of melodic prog music styles. It doffs its cap to the past, whilst embracing the present, and mixes it all into a singular and varied style. There is a refreshing chameleon-like character across all the eight tracks, with surprises around the corner for any listener, and yet it works as a whole. Their heart might be in the symphonic and neo-prog rock of the ’70s and ’80s, but they are not anchored there at all. This is definitely an album worth exploring for progressive rock fans who like their melody and complexity is equal measures.

by Gabriel. Published July, 14 2021. Translated from French.

If you had to designate a prog album to pack this summer in your luggage, I would definitely recommend the album "If Only ..." by American band The Far Cry.

Indeed it brings together everything I love about progressive rock: Good musicians, varied compositions that are both complex, but not too much, and excellent melodies.

The Far Cry is a United States-based formation that is the association of two musician friends Robert Hutchinson (drums, percussion) and Jeff Brewer (vocals, bass, bass synth, bass pedals and guitar) who met in 1976. In the 1980s, the duo were part of the American prog group Holding Pattern. In 2013 our two friends Robert and Jeff decided to continue their musical journey by creating The Far Cry. A few years later, the duo decided to enter the recording studio to finally burn the material they had accumulated. Guitarist Bryan Collin and keyboard player Chris Dabbo joined them to complete the project.

"If Only ..." is the group's first album, the adventure begins with its original cover: The interior of a theater in the style of the one Marie-Antoinette had built in the spring of 1780 at the Palace of Versailles. As for the eight titles present, these offer a palette of sounds that engage the listener on an auditory journey through all the styles of the landscapes specific to progressive rock, while distilling the own originality of The Far Cry. One could define this music as being a progressive, doped with neo-prog and symphonic rock, often confusing by certain very original rhythmically arrangements, with a very dynamic writing for bass and drums, or through the riffs that follow each other with a vengeance.

The album starts off strong with "The Mask Of Deception", over eleven minutes long, which could easily fit into a Spock's Beard album, a comparison accentuated by the complex structure of the melody, the vocals and the vocal harmonies developed.

Out of step with the rest of the tracks, "Programophone" is a track full of energy, containing parts of keyboards and unbridled guitars, on a text more spoken than sung. A relaxing interlude, "Winterlude", acoustic guitar and light keyboards, delicately drops us on "Simple Pleasures" which sails in the waters of Asia, a prog rock bordering on a flamboyant AOR, easy to access and direct, truly exhilarating.

An instrumental, "The Missing Floor" demonstrates a perfect mastery of the group in an adventurous prog genre Dream Theater, great art, a perfectly controlled track with a lead guitar and a dantesque sound. The grand piano floods "Winterlude Waning", a small piece with a sweet melody and a symphonic aspect precedes the eponymous "If Only", my favorite, with more than sixteen minutes where virtuosity is at the service of music, where everything flows and rolls. An extremely pleasant, modern and accessible melody with keyboards that underline many melodic meanders accompanied by majestic voices, an excellent example of the band's ease. Sense of harmony, lightning guitars impressive rhythm section, the track sounds like a classic. An instrumental closes the album with a hazy synth intro, "Dream Dancer" then launches with a bass that takes precedence over an extremely pleasant, modern and accessible melodic line with keyboards evoking Tony Banks from Genesis.

A very interesting album, without weak point, well balanced in sound and artistic approach, it delivers content that is definitely worth a look, if you like progressive music!

by Erik Neuteboom. Published June 2021.

The Far Cry is a USA based formation rooted in 1976 when the musical friends Robert Hutchinson (drums, percussion, bells and spoken words) and Jeff Brewer (lead/backing vocals, bass, bass synth, bass pedals and guitar) started to make music together.

And in the Eighties the duo was part of the highly acclaimed USA prog band Holding Pattern. Now fast forward to 2013 when Robert Hutchinson purchased a speaker cabinet Jeff Brewer had for sale. In the attendant dialogue, the pursuit of the likely impossible was quickly broached and a decision made to chase the dream just one more time. Thus the seeds for The Far Cry were sown. Eventually, the duo decided to enter the recording studio to get the material up and running.

Guitarist Bryan Collin had already been in contact, having answered a Craigslist ad, and was amenable to playing on the recordings. Bryan Collin was now The Far Cry guitarist. Still, a highly competent keyboardist was required. Studio owner and master engineer John Bolduc was asked if he knew of any keyboard man who could properly interpret and perform the music he was hearing. John responded instantaneously: Chris Dabbo. No time was wasted in contacting him. All involved were highly enthused and Chris was drafted in as keyboardist for The Far Cry.

Most of the seven compositions on their debut If Only... are built around the dynamic, alternating and powerful rhythm section (Robert on drums and Jeff on bass), embellished with inventive work on keyboards and guitars. One moment the music reminds of King Crimson, as in the varied The Mask Of Deception (fiery and sensitive guitar runs), and in The Missing Floor (bombastic eruptions with fat synthesizer flights and heavy guitar riffs).

At other moments Frank Zappa comes to my mind, like in the hypnotizing Programophone (growling bass, and howling and biting guitar runs).

The long song Simple Pleasures (close to 14 minutes) starts and ends in an AOR atmosphere with strong vocals, in between a tender grand piano interlude, joined by acoustic guitar, then a sumptuous outburst featuring a flashy synthesizer solo, in the end fiery guitar leads.

The tracks Winterlude, Winterlude Waning and Dream Dancer showcases the mellow side of the band, the first two featuring tender grand piano play and warm acoustic guitar, simply wonderful, the other one dreamy work on electric guitar and keyboards.

Finally the epic titletrack close to 17 minutes. First a bombastic eruption with fat synthesizer flights and a Mellotron choir sound, then a catchy mid-tempo, topped with rock guitar and synthesizer flights. Next a mellow part with soaring keyboards, then tic-toc sound and bells, followed by a bombastic and dynamic sound, and finally military drums and flute.

I consider this debut CD as a dynamic and varied effort with lots of interesting musica