The Mute Gods – Do Nothing Till You Hear From Me

Intro: Dimitris Kaltsas
09 / 03 / 2016

Looking quickly at the (distant to recent) past of rock music, it is easy for one to draw the conclusion that supergroups produce quality music inversely proportional to the excitement caused by their formation. The causes of this oft-repeated frustration vary depending on the case, although a common denominator is the collection of many strong personalities, but also the secondary importance given to every single side project.

Of course, there are exceptions to the above general statement, some of which are brilliant. In this case, the awesome and formidable Nick Beggs seems to have found an ideal partner in the person of Marco Minnemann and by adding the exceptional Roger King (Steve Hackett’s most stable partner in his solo career), they formed Mute Gods. The guest stars in Do Nothing Till You Hear from Me are quite a few and the expectations are once again very high. Or maybe not?

Well-played but intentionally radio-friendly

The partnership of two of the session members of Steven Wilson’s solo band would not be cause for surprise, if there wasn’t absolute respect and universal recognition of the skills of Nick Beggs and Marco Minnemann from the beginning. And while the vision of The Mute Gods belongs exclusively to the first, it is reasonable to expect more from the composer Beggs in relation to his 2013 attempt, Lifesigns, since this time Roger King (Steve Hackett), Adam Holzman, Nick D’Virgillio, Gary O’Toole, Frank Van Bogaert, Rob Reed, Lula Beggs and Ricky Wilde are participating in this attempt. And however ambitions maintaining a single style may be due to so many guest entries, Beggs’ success in building such a sonically tight album that doesn’t sound too drenched in virtuosity is equally important. Do Nothing Till You Hear From Me is a beautiful, well-played album of typical, contemporary prog with pop, indie references (roughly similar to the soundscapes Wilson weaves in Hand.Cannot.Erase nowadays or Lightbulb Sun some time ago, and Åkerfeldt in the latest version of Opeth).

Judging based on the three compositions (and the corresponding videos) that promote the album, we easily understand that Beggs’ purpose is not to make the listener’s job difficult with intricate solos (not that they are missing from the album) and wise-arse rhythms foisted in series by younger musicians. And if the  composition of the same name and Feed the Troll contain those characteristics that make them more accessible to the demanding progressive audience, Beggs’ duet with his daughter in Father Daughter winks at the British pop rock music that has plagued the scene of late. With the above ratio covering the remainder of the compositions, the final flavour is mixed and this is not because the quality of the material is differentiated, but because we were expecting something more ambitious by these musicians.

While some exceptionally well-shaped ideas, both in execution and composition (Your Dark Ideas, In The Crosshairs, Mavro Kapelo), ideally balance the dynamics of riffs and rhythm section with the melody of Beggs, voice and keyboards (of Roger King and various guests) , respectively the composer falls into the trap of streaming-friendly song-making, even making extensive use of the mellow side of Wilson (Nightschool for Idiots, Last Man on Earth) or the vintage timbre of Opeth (Strange Relationship). And there would be no problem with the above borrowing if there was any development or integration in a singular frame, but in the manner it is applied, it unfortunately clearly reflects the composer’s intention to inject his material with something familiar and already successful. Without implying that the overall impression is not a positive one, a version of Do Nothing Till You Hear From Me with 7-8 compositions would have been much better.

6.5 / 10

Alexandros Topintzis

2^nd opinion 

I did not expect to hear something so “watered-down” from musicians with such “heavy” back catalogues. Weak to indifferent compositions with distinct dose of influences by Steven Wilson, mediocre mixing with “buried” drums and guitars for ”art/prog” sound concept without much success, and Beggs’ bass featuring full sound. Powerful moments: the riff of In The Crosshairs and the finale in Praying To A Mute God, Swimming Horses and greeklish Mavro Capelo.

6 / 10

Alexandros Delivasilis