Style: Progressive rock, hard rock, AOR (clean vocals)
Recommended for fans of: Rush, Yes, Steven Wilson, Riverside, Transatlantic, Frost*
Country: Connecticut, USA
Release date: 12 July 2024
While there are a few Christmas prog albums out there, you’re nevertheless more likely to hear bands like Disillusion sing about “Wintertide” than yuletide. So it’s notable that Connecticut prog rock group Mile Marker Zero first came to my attention through their Christmas covers. The group have delivered a handful of reimaginings of classic Christmas songs in the style of various prog legends: “Most Wonderful Time of the Year” in the style of Opeth, “Winter Wonderland” in the style Genesis, “Sleigh Ride” in the style of Rush. And they deliver: the Opethisms on “Most Wonderful Time of the Year” are stylistically on-point from that first satirical diminishment; Mile Marker Zero are adept prog impressionists. But can that add up to originality and acumen when it comes to original compositions?
On Coming of Age, Mile Marker Zero have really developed into a commercial prog sound, moving away from the more conceptually intrepid The Fifth Row and applying a lustre of spit and polish. The change of direction is akin to that of their beloved Rush whose hard rocking prog tendencies in the ‘70s were tempered by the pressures to conform to the ‘80’s commercialised milieu allowing them to relax into a poppier gear1. In Mile Marker Zero’s case, that move is into a more album-oriented rock mode with an emphasis on personal lyrics without compromising on the instrumental complexity and ambition. “Best is Yet to Come” opens the album (after the brief intro track “A Time in Place”) with a ‘Steven Wilson at his most Rush’ style bang, the tense strumming of the verse building tension toward a cathartic and optimistic chorus which, on its final iteration, comes back fuller, layered with added subtleties. This really underscores the Mile Marker Zero approach to composition: typical verse-chorus structure but piling on little affectations and distinctions within that more rigid structure, plus a nice long bridge for the band to stretch their legs with solos, noodling about on keys, more complex riffs, and other fun little sections. It’s a tried and tested formula, but one which takes talent to pull off.
Fortunately, over time Mile Marker Zero have honed their talents: Dave Alley’s dry tenor is stronger and more disciplined, and the composition is focused. The band are sparing with the guitar solos, but when John Tuohy takes the limelight he lays out melodic shred in the vein of Howe or Lifeson, as on “Best is Yet to Come”. “Heavy Days” opens with the most fast-paced riffing, some classic Geddy-esque basswork from Jaco Lindito and a chaotic keyboard solo that recall The Fifth Row’s relative heaviness. Lindito shines throughout, a truly interesting bassist whose contribution sits proudly in the mix—I only wish his solo that closes “Far From Home” went on longer.
“Towns to Grow Up In” is a nostalgic paean to the homes that form us, its dewy-eyed wistfulness feels more suited to the likes of Tom Petty or Bruce Springsteen, an all American anthem full of the spirit of the late seventies.2 Meanwhile, “Bizarre” is more of a swing, its sound recalling that of Steven Wilson’s last four albums with its stripped back trip-hop vibe, simple piano chords, and post-rock style of layering synth and guitar elements into a climax. The title track also takes an interesting punt on a marimba effect backing the track throughout. At first I found its constant presence a little irritating, but I’ve come around to it on repeat listens, plinking away in the background like the reassuring patter of raindrops as the track moves into an absolutely gorgeous Gilmour-esque acoustic solo, topped off by an emotive climax that prove some of the record’s most arresting moments.
If Coming of Age suffers anywhere, it’s in the more saccharine AOR moments, “Towns We Grew Up In” and “End of August” being the biggest offenders—although, to the band’s credit, both tracks evolve into more interesting sections. I suppose it comes down to a question of cliches: I think Mile Marker Zero manage to weaponise the Rushisms and Yesisms to their advantage, but whenever things go a bit Foreigner or Boston, Coming of Age feels less ‘inspired by’ and more straightforwardly cliched. And yet, when “End of August” builds to its lovely reprise of “The Best is Yet to Come”, cutting out on the final chant of the title just before the last word, you won’t find me without my lighter in the air. Sometimes the cliches just work.
We don’t cover modern prog rock so often here at the Subway, and while that’s something we’re trying to address, part of the reason is there’s little to say about all those “What if Pink Floyd had been dull post rock?” releases or the Genesis worshippers selling themselves by the ton who sound so sanitised and have found nothing new to say in fifty years. Mile Marker Zero’s dynamic mix of a modern Steven Wilson/Riverside gloss built upon classic Rush and Yes influences has the necessary bite to engage, and enough creative decisions to earn your attention. It seems like Mile Marker Zero have finally [dramatically removes sunglasses] matured.
- One wonders what would happen if any prog band had ever had an interest in cocaine. Although I guess King Crimson’s ‘80s output was manic enough and the hardest thing Robert Fripp was on was pescetarianism. ↩︎
- Fitting given that, what with all the ultra-conservative posturing to take power with witch hunts and assassination attempts in tow, America really feels like it’s about to enter 1980 again. ↩︎
Recommended tracks: Best is Yet to Come, Heavy Days, Coming of Age
You may also like: Advent Horizon, Southern Empire
Final verdict: 7.5/10
Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | YouTube
Label: Independent
Mile Marker Zero is:
– Dave Alley (vocals)
– John Tuohy (guitars)
– Mark Focarile (keyboards)
– Jaco Lindito (bass)
– Doug Alley (drums)
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