Artists | Issues | CD Reviews | Interviews | Concert Reviews | DVD/Video Reviews | Book Reviews | Who We Are | Staff | Home

Gone from My Sight

Twenty Twenty

Review by Gary Hill

This is quite an intriguing set. It's not precisely progressive rock, but it is definitely art rock. There are definite comparisons to Radiohead to be made. This is largely experimental and lo-fi, but it's also so cool. It leans toward the low-key end of the spectrum and has plenty of psychedelia in the mix. Whatever you call it, this is compelling music.

This review is available in book (paperback and hardcover) form in Music Street Journal: 2020  Volume 6. More information and purchase links can be found at:

Track by Track Review
Chrome Dynasty
Weird atmospheric textures are at the heart of the opening to this number. As it grows outward it has psychedelic meets alternative rock vibe that leans toward modern prog. The track gets more energy and driving percussion later in its run. Synthesizer brings some intriguing touches as the cut intensifies further down the road.
Voices on a Plane

Vocals begin this. A percussive element joins very quickly. The number works out from there with an alternative electronic sound. I dig the lo-fi guitar sounds that join for a short time later. This is very experimental and tastefully weird in some of the changes.


This begins percussive. The cut works out from there with waves of keyboards that almost bring a techno edge. This is decidedly art rock based stuff with an alternative edge, though. There is a weird synthesized voice break.

More of a driving rocker in some ways, the general concept hasn't been completely replaced. This is largely electronic, lo-fi and nicely weird. The slow-down section is quite artsy. Then a new movement is brought in by piano and trippy weirdness. It gets more melodic, but no less experimental, on the closing movement.
The Float
Restrained, melancholy and trippy at the start, this number works forward in that vein for a while, gradually getting more layers of sound added to the mix. This stays largely mellow and slow moving, but does get lusher and a bit more intense. There are some great keyboard textures and intriguing percussive elements here.
Quite trippy and artsy, this is odd, but also compelling. The opening movement is quite slow, but it gets more energy as the number evolves.
Strange effects start this cut. Then piano rises up with a pretty, but somehow strange, melody. Gentle vocals come in over the slow moving arrangement as trippy layers build over the top. The cut gradually seems to move toward an almost demented sound, feeling like some kind of mild insanity is beginning to emerge. There is a lot of psychedelia built into this section. It works to more of a rocking motif as it continues. It still has a twisted edge, but is more mainstream in that part of the number. The piece continues to shift and features a percussion driven section later.
Big Day Out
Alternative sounds and modern prog merge well on this. There are some exceptional melodic elements and musical textures here. This is one of the most mainstream cuts here, yet it's clearly not a mainstream piece. I'm definitely reminded quite a bit of Radiohead here.
The Morning After
"Trippy" is the best way to describe this. The alternative proggy textures are still present, but this has a real dreamy quality to it. I love the slow moving and slowly evolving vibe here. This is another that calls to mind Radiohead a bit. It's also one of the highlights of the set, despite being one of the most understated numbers. It's quite dynamic, featuring a lot of differing movements.
Return to the
Gone from My Sight Artist Page
Artists Directory

   Creative Commons License
   This work is licensed under a Creative Commons Attribution 3.0 United States License.

    © 2024 Music Street Journal                                                                           Site design and programming by Studio Fyra, Inc./