The Blackheart Orchestra - Hotel Utopia (2022)

THE BLACKHEART ORCHESTRA, as they have been known for their last couple of releases, have landed some pretty high-tier tour supports, including the likes of HAWKWIND, despite their differing sound from the space lords. It has all come about thanks to a strong work ethic, relentless touring, and some gorgeously arranged music, a trend they have continued in their latest opus, Hotel Utopia.

From the off, there is their usual strong sense of melody and harmonics, delicacy and power coming on in waves, like the ocean they reference in some of their song titles. It’s the kind of sound that they should never be able to replicate live with just the two multi-instrumentalists, but they always seem to do so with aplomb. Both Rick Pilkington and Chrissy Mostyn have managed to once again create some absolutely mesmerising songs, with their uncanny ability to take you wherever they want and you just cannot help but follow along.

In addition to the praise above is the fact that there is a strong concept to this release. Following Mostyn‘s rather personal look at the subject of death for 2019’s Mesmeranto, they both now move on to help us consider what might actually be beyond that point in this latest release. The delicate nature and soaring beauty within the tracks may feel like they address solely heaven, yet they hide a lyrical discourse that discusses murder, suicide, and the end of everything – things that you would not likely imagine should you listen solely on a shallow level. That is always the beauty with THE BLACKHEART ORCHESTRA, though – their ability to craft songs you can soak yourself in whether you take a shallow paddle or dive deep into the intricately woven threads they weave so expertly.

Opener The Tide begins with an orchestral-heavy acapella before launching into a stunning ballad, while closer The Flood has a guitar solo that brings to mind PINK FLOYD‘s Comfortably Numb, with the track overall feeling like a full circle from The Tide, bringing us back in a loop of renewal. The initial standout track is probably Casting Spells, though this is by barely a nose, as there is not a single song that feels either out of place or beneath the others – just that this one, in particular, seems to catch your ear a touch more from the off.

This album, like their many before, hits you immediately with an authentic feel of passion and feeling, with both Mostyn and Pilkington excelling once more in all the various duties they pull. Their ability to compose and play such complex patterns while not missing a beat with vocals or a single note is of a true testament to their talent and a good indicator of why they are finally beginning to gain the recognition they deserve. This will hopefully be the release to propel them even further upwards into more public recognition, it’s the least they deserve. A truly stunning body of work.