Stuckfish’s last album, 2022’s , garnered much positive feedback. Although healthily varied, it primarily delivered great melodic rock with strong prog roots. With the band having signed to dedicated prog label White Knight and welcomed new keyboardist Paul McNally since then, their new release, the minimally titled , comes with some level of expectation – on which it delivers.
Straight out of the gate, allays any fears that the band may have gone rogue or lost their compositional spark. Opening with a direct yet gorgeous harmony vocal, which wouldn’t be out of place on any 80s album by or , it continues in hard AOR style while exploring the multi-faceted love life of late 19th-century French actress Sarah Bernhardt. More AOR influences can be found elsewhere, notably on , which features a soaring organ refrain and a tune that walks the line between melodic pop-rock and post- .
In places, Phil Stuckey’s lead vocals are reminiscent of ’s Peter Nicholls – such as on the choruses of , the stately, keyboard-led intro that drops into more taut neo-prog territory for the bulk of the song. At the close of the album, again suggests additional IQ comparisons as its dark, gently threatening synth intro slowly builds, adding voice and grating guitar, then teases the listener as elements are pulled out and pushed back to the fore again. It’s a song about a near-death experience, and it consistently builds tension and gives only fleeting relief.
Elsewhere the band toy with.