Orion Into Darkness - Progressive Voyages Review PV014
Orion – Into Darkness PV014
Orion – Into Darkness PV014
In the vast and ever-expansive world of progressive rock music, very few artisans of the craft can wield the scepter of power that is bestowed upon those who can write, perform, engineer, mix and release an album entirely on their own. The Tangent’s Andy Tillison has done this with 2024’s ‘To Follow Polaris’ and Colin Powell, on the previously reviewed (by me) ‘Book of Enoch’ did the same on that record. Other notable musicians such as Rick Wakeman and Alan Parsons have travelled this road, as well.
Thusly…. Orion’s Ben Jones finds himself in excellent and vaunted company.
Beginning in 2023, with the release of his debut album ‘The End of Suffering’ and continuing with one of last year’s best progressive albums…. 2024’s absolutely phenomenal ‘The Lightbringers’…. Ben has once again blessed the progressive world with a new Orion album, 2025’s ‘Into Darkness’.
Released on August 16, and written as a kind of counter-point to ‘The Lightbringers’; the most recent album is a statement on the dark nature inherent in each of us. ‘Into Darkness’ continues and expands upon the musical and lyrical excellence of its predecessor, with a heavier, at times almost djent-like take on prog rock. Shades of the bands Rush and Haken, as well as synth-pop rock groups with 80’s panache like The Midnight, roam Orion’s headspace, and their influence dominates the new record. And yet, Orion very much sounds like…. ORION. Ben has, over the course of the past three years, honed and crafted a sound that is very distinct and recognizable and yet is also undoubtedly original. ‘Into Darkness’ picks up where ‘The Lightbringers’ left off, and delivers us another supremely tasteful slice of prog rock for us to feast upon.
So…. Join me, won’t you? Let’s ruminate on a father’s love, speak of ordinary men, avoid getting bit by the ant, and let our bleeding hearts lead us into the darkness as we track through Orion’s new masterpiece.
‘A Father’s Love’ – one would be forgiven for thinking, at first listen, that the initial track is going to be a homage to an 80’s alternative band. But quickly, that notion is dashed as we fly, full-fledged, into the hard progressive rock Orion is best known for. Yes, those 80’s alternative band shades are there…. But only just…. This broods and creeps as it simmers just below metal, before dropping into a half-time groove that should have every listener nodding their heads in unison. The choruses are quite “pop-like”, and are an excellent contrast to the heaviosity (if that’s not a proper word, it should be!) of the verses and bridge. And the message here; the dark and abiding failures of fathers, and likely of ourselves, is a great start to the journey into darkness.
Someday – where we flirted with 80’s style on the first track, we now plunge headlong into it…. ‘A-ha’ meets ‘The Midnight’ meets ‘Haken’ in this blistering synth take on djent metal; complete with melodic choruses and programmed synthesizers to match, before sharp-diving into a noticeably Haken-inspired djent groove. This tremendously awesome back-and-forthing continues throughout, with the bass guitar (and this happens many times on this record) taking the lead when it comes to being the driving music force behind the verses and choruses. The melody of the chorus, in particular, is fantastic, and gives the song a variance that a normal djent song would be lacking. One of the best tracks on the record.
‘Ordinary Men’ – we slow things down here, with a beautiful piano opening and synth-orchestral flourishes that play over heartfelt vocals that flow with emotion and feeling. But, Orion is Orion, and soon the heavy returns, via guitars and tribal drums and a darker vocal delivery. One of the most straightforward rock tracks here (and, indeed, in Orion’s catalogue) but with some of the most inventive percussive soundscapes on the record, and more dark corners to explore lyrically; this time in the guise of the ordinariness of men who do work that is far from ordinary, and the darkness and misunderstandings that can surround and envelop them.
‘Left Behind’ – this song bursts out of the gate with force, but the true power of this track lies not in its myriad of twists and turns musically, but in its particularly relatable and heartbreaking subject-matter. The notion of support from people when you have lost something (or someone) in your life, only to be left behind when those supporting you eventually move on, is an extremely powerful topic, made all the more so by the accompanying vortex of constantly shifting and shuddering heavy rock that pervades the song. And once again the bass takes center stage here…. Providing the main musical themes upon which the lyrics dance. An excellent track.
‘The Ant’ – 3 minutes and 12 seconds of rhythmic, jarring, bass-driven (surprise!) instrumental bliss. Extremely Rush-inspired, this gem…. With a great tempo that does not back down and bass grooves and guitar shreds worthy of the great Geddy Lee and Alex Lifeson. I am reminded of the short but awe-inspiring ‘Malignant Narcissism’ from the Holy Triumvirate’s record ‘Snakes and Arrows’. Yes…. ‘The Ant’ is that good…. Its only drawback is that it’s far too short. I wanted so much more of this.
‘Into Darkness: Part I – The Antidote to Life’ – where last year’s ‘The Lightbringers’ brought us the amazing 4-part suite ‘The Cycle of Light’, here the 2-part ‘Into Darkness’ suite graces us with yet another conceptual piece that centers on the album’s title and theme…. Albeit this one far darker and without the messages of hope and light that imbued the previous record’s epic. Part I, musically, begins quietly and pensively, before building in anthemic fashion, and then propelling forward until we get more djent-level crunch, interspersed with an almost jazz-fusion style of bass slapping, and pounding, relentless drums that carry us to an superb, melodic chorus. The tangential interplay between the softer melodies and the heavy verses is sublime. And this is, once again, some of the most upfront and impressive bass playing I have heard on a prog record in a LONG time. It is rare for bass lines to drive a song’s rhythm AND melody, but Orion does it time and again on this record, and very effectively here. And as this is part one of 2-part suite…. The song crescendoes majestically and then fades into….
Into Darkness: Part II – Bleeding Hearts’ – the finale of the suite and the record is some of Ben’s most simplistic, beautiful, emotion-driven, and cinematic songwriting of his career. This song speaks directly to your emotions, rips at your heart, and puts tears in your eyes. The two ‘three note refrains’ that gently begin the song play throughout the entire track…. No matter where the music goes, and it DOES go….. building from whispers to a controlled and glorious frenzy that culminates in an almost cinematic conclusion…. The repeating soft refrains are present. They are the constant beat of the bleeding hearts that have succumbed to the darkness that has held them. The imagery created by the music here is soul-shattering and poignant in the extreme. And, as the music fades from our ears, the lonely, sad three-note refrains that led us to the chasm send us away before flat-lining; leaving the world in a cold and empty void of darkness.
I have to admit that I would not be telling you the full truth if I told you that ‘Into Darkness’ is the best record of Orion’s career. ‘The Lightbringers’ was not only one of last year’s best prog records, it is one of my all-time favorite progressive records in my vaunted collection. But while the new record does not top ‘The Lightbringers’, it most certainly does stand shoulder-to-shoulder with it. ‘Into
Darkness’ is every bit as good a record as its predecessor. In fact, I would venture to say that these two records could (and should) be seen as two sides of one grandiose theme; a light and dark side of the same singular coin…. And as such, they are meant to be together: they belong with and to one another. Musically and lyrically apropos to our troubled times, the record unites progressive genres and sub-genres seamlessly in a manner that very few prog artists can actually accomplish with any success or sincerity.
As the bleak and despairing younger sibling of ‘The Lightbringers’, ‘Into Darkness’ is itself a vital and enduring statement on the moribund world of loss, fakery, misunderstanding and imitation in which we find ourselves living today. The album is a MUST OWN; a top release for 2025 and if it is not a part of your progressive collection, then your collection is incomplete. The album effectively establishes itself as a worthy and critical addition to the “world lament” that Ben has undertaken, and on its (and his) own merits, it soars and screams from the dark sky above to the generations below that it matters. It is relevant. It is real.
It is darkness. And so are we all.
For more information, and to buy the new album in either digital or physical formats, and to check out other related releases and merchandise, visit Orion’s Bandcamp page.
In the vast and ever-expansive world of progressive rock music, very few artisans of the craft can wield the scepter of power that is bestowed upon those who can write, perform, engineer, mix and release an album entirely on their own. The Tangent’s Andy Tillison has done this with 2024’s ‘To Follow Polaris’ and Colin Powell, on the previously reviewed (by me) ‘Book of Enoch’ did the same on that record. Other notable musicians such as Rick Wakeman and Alan Parsons have travelled this road, as well.
Thusly…. Orion’s Ben Jones finds himself in excellent and vaunted company.
Beginning in 2023, with the release of his debut album ‘The End of Suffering’ and continuing with one of last year’s best progressive albums…. 2024’s absolutely phenomenal ‘The Lightbringers’…. Ben has once again blessed the progressive world with a new Orion album, 2025’s ‘Into Darkness’.
Released on August 16, and written as a kind of counter-point to ‘The Lightbringers’; the most recent album is a statement on the dark nature inherent in each of us. ‘Into Darkness’ continues and expands upon the musical and lyrical excellence of its predecessor, with a heavier, at times almost djent-like take on prog rock. Shades of the bands Rush and Haken, as well as synth-pop rock groups with 80’s panache like The Midnight, roam Orion’s headspace, and their influence dominates the new record. And yet, Orion very much sounds like…. ORION. Ben has, over the course of the past three years, honed and crafted a sound that is very distinct and recognizable and yet is also undoubtedly original. ‘Into Darkness’ picks up where ‘The Lightbringers’ left off, and delivers us another supremely tasteful slice of prog rock for us to feast upon.
So…. Join me, won’t you? Let’s ruminate on a father’s love, speak of ordinary men, avoid getting bit by the ant, and let our bleeding hearts lead us into the darkness as we track through Orion’s new masterpiece.
‘A Father’s Love’ – one would be forgiven for thinking, at first listen, that the initial track is going to be a homage to an 80’s alternative band. But quickly, that notion is dashed as we fly, full-fledged, into the hard progressive rock Orion is best known for. Yes, those 80’s alternative band shades are there…. But only just…. This broods and creeps as it simmers just below metal, before dropping into a half-time groove that should have every listener nodding their heads in unison. The choruses are quite “pop-like”, and are an excellent contrast to the heaviosity (if that’s not a proper word, it should be!) of the verses and bridge. And the message here; the dark and abiding failures of fathers, and likely of ourselves, is a great start to the journey into darkness.
Someday – where we flirted with 80’s style on the first track, we now plunge headlong into it…. ‘A-ha’ meets ‘The Midnight’ meets ‘Haken’ in this blistering synth take on djent metal; complete with melodic choruses and programmed synthesizers to match, before sharp-diving into a noticeably Haken-inspired djent groove. This tremendously awesome back-and-forthing continues throughout, with the bass guitar (and this happens many times on this record) taking the lead when it comes to being the driving music force behind the verses and choruses. The melody of the chorus, in particular, is fantastic, and gives the song a variance that a normal djent song would be lacking. One of the best tracks on the record.
‘Ordinary Men’ – we slow things down here, with a beautiful piano opening and synth-orchestral flourishes that play over heartfelt vocals that flow with emotion and feeling. But, Orion is Orion, and soon the heavy returns, via guitars and tribal drums and a darker vocal delivery. One of the most straightforward rock tracks here (and, indeed, in Orion’s catalogue) but with some of the most inventive percussive soundscapes on the record, and more dark corners to explore lyrically; this time in the guise of the ordinariness of men who do work that is far from ordinary, and the darkness and misunderstandings that can surround and envelop them.
‘Left Behind’ – this song bursts out of the gate with force, but the true power of this track lies not in its myriad of twists and turns musically, but in its particularly relatable and heartbreaking subject-matter. The notion of support from people when you have lost something (or someone) in your life, only to be left behind when those supporting you eventually move on, is an extremely powerful topic, made all the more so by the accompanying vortex of constantly shifting and shuddering heavy rock that pervades the song. And once again the bass takes center stage here…. Providing the main musical themes upon which the lyrics dance. An excellent track.
‘The Ant’ – 3 minutes and 12 seconds of rhythmic, jarring, bass-driven (surprise!) instrumental bliss. Extremely Rush-inspired, this gem…. With a great tempo that does not back down and bass grooves and guitar shreds worthy of the great Geddy Lee and Alex Lifeson. I am reminded of the short but awe-inspiring ‘Malignant Narcissism’ from the Holy Triumvirate’s record ‘Snakes and Arrows’. Yes…. ‘The Ant’ is that good…. Its only drawback is that it’s far too short. I wanted so much more of this.
‘Into Darkness: Part I – The Antidote to Life’ – where last year’s ‘The Lightbringers’ brought us the amazing 4-part suite ‘The Cycle of Light’, here the 2-part ‘Into Darkness’ suite graces us with yet another conceptual piece that centers on the album’s title and theme…. Albeit this one far darker and without the messages of hope and light that imbued the previous record’s epic. Part I, musically, begins quietly and pensively, before building in anthemic fashion, and then propelling forward until we get more djent-level crunch, interspersed with an almost jazz-fusion style of bass slapping, and pounding, relentless drums that carry us to an superb, melodic chorus. The tangential interplay between the softer melodies and the heavy verses is sublime. And this is, once again, some of the most upfront and impressive bass playing I have heard on a prog record in a LONG time. It is rare for bass lines to drive a song’s rhythm AND melody, but Orion does it time and again on this record, and very effectively here. And as this is part one of 2-part suite…. The song crescendoes majestically and then fades into….
Into Darkness: Part II – Bleeding Hearts’ – the finale of the suite and the record is some of Ben’s most simplistic, beautiful, emotion-driven, and cinematic songwriting of his career. This song speaks directly to your emotions, rips at your heart, and puts tears in your eyes. The two ‘three note refrains’ that gently begin the song play throughout the entire track…. No matter where the music goes, and it DOES go….. building from whispers to a controlled and glorious frenzy that culminates in an almost cinematic conclusion…. The repeating soft refrains are present. They are the constant beat of the bleeding hearts that have succumbed to the darkness that has held them. The imagery created by the music here is soul-shattering and poignant in the extreme. And, as the music fades from our ears, the lonely, sad three-note refrains that led us to the chasm send us away before flat-lining; leaving the world in a cold and empty void of darkness.
I have to admit that I would not be telling you the full truth if I told you that ‘Into Darkness’ is the best record of Orion’s career. ‘The Lightbringers’ was not only one of last year’s best prog records, it is one of my all-time favorite progressive records in my vaunted collection. But while the new record does not top ‘The Lightbringers’, it most certainly does stand shoulder-to-shoulder with it. ‘Into
Darkness’ is every bit as good a record as its predecessor. In fact, I would venture to say that these two records could (and should) be seen as two sides of one grandiose theme; a light and dark side of the same singular coin…. And as such, they are meant to be together: they belong with and to one another. Musically and lyrically apropos to our troubled times, the record unites progressive genres and sub-genres seamlessly in a manner that very few prog artists can actually accomplish with any success or sincerity.
As the bleak and despairing younger sibling of ‘The Lightbringers’, ‘Into Darkness’ is itself a vital and enduring statement on the moribund world of loss, fakery, misunderstanding and imitation in which we find ourselves living today. The album is a MUST OWN; a top release for 2025 and if it is not a part of your progressive collection, then your collection is incomplete. The album effectively establishes itself as a worthy and critical addition to the “world lament” that Ben has undertaken, and on its (and his) own merits, it soars and screams from the dark sky above to the generations below that it matters. It is relevant. It is real.
It is darkness. And so are we all.
For more information, and to buy the new album in either digital or physical formats, and to check out other related releases and merchandise, visit Orion’s Bandcamp page.
www.benjonne4.bandcamp.com