It’s been such a pleasure to watch Orion’s albums launch quickly, subvert expectations, and land heavy punches lyrically and musically. Orion is back with Universe XXV, and I think it’s his best album yet. It released on October 23rd.
Orion is Ben Jones of the UK. Yes, he plays all the instruments and does all the programming. It’s a one-man show, basically, though the artwork is by Thomas Ewerhard. Ben’s been releasing albums very consistently, one per year since 2023. Each one is better than the last. So while I still have a soft spot for 2024’s The Lightbringers, last year’s Into Darkness is definitely the better album. And Universe XXV feels like a significant step up even from that one.
The music here is progressive rock. Now, Ben is a huge Rush fan, and I feel like that influence comes out in his past albums. This album feels more like progressive metal at times, more like Dream Theater, even. But that’s not to say Ben is just emulating influences. No, his style is effervescent, floating, even cautious at times. He knows how to blend hard-hitting instrumental portions with spacious melodies and strangely catchy choruses.
And I feel like he does a better job at vocals with each album, too. This time around, some of my favorite moments are the heartfelt, passionate, soaring vocal portions. And the album seems to get better as it progresses. The second half is my favorite, but there isn’t a weak track overall. It just gets stronger with each track.
Universe XXV is conceptually based on the famous behavioral sink experiments of John Calhoun. Basically, the idea is that the rats he used in his experiments became sterile and unable to perform basic survival functions when everything was provided for them all the time. Ben is applying this to humans. So, the album ends up exploring the importance of struggle, human dreams, and difficult paths. They make us who we are. They hone our creations into something truly authentic and memorable. They drive innovation and aspirations. It’s an interesting set of well-written lyrics.
The album has seven tracks. It starts with the fiery instrumental “Overture XXV”, which fires on all cylinders. Seriously, this opener is cinematic, thoughtful, and absolutely rocks. Next comes “All Things Equal”, a surprising piece that leans more into electronic tones and plays more like a melodic pop song at times. It’s different and I love it. “A Boy Can Dream” continues with that same vibe before launching into a riffy assault. Plenty of great bass lines and delicate keyboard melodies make for a punchy song, but the lyrics add the emotional gravy that really makes it all work.
And this is where album really takes off. “A Man Can Fall” is such an expressive song, Ben leaning hard into the excellent chorus. The song overall actually has some whimsy and quirk, but the streaming emotions are undeniably potent. Next is “Both Sides of the Coin”, such an terrific tune. The drumming is incredibly well-done, and feels like the driving force, for as it gets more technical, the song seems to rise, and the message seems to shine. Such a searing, powerful piece!
The final two tracks go together, in my mind. “In This Final Breath” has so much subtlety, so many nuanced little pinpricks of melodic light. But it also has one of the best instrumental portions on the record, emotional guitar soloing, and harmonic vocals. It’s such a wonderful piece that plays into the closer “In the Wider World”, a reserved song full of distant cinema and electronic overlay. I like how it rises in intensity, burning deeper into our souls as it closes.
Orion keeps getting better. This album has Ben’s most complex and calculated instrumental passages, but also some of his most poignant and thoughtful reflections. It’s truly music for people who like to think, for people who enjoy philosophical narratives. Fans of progressive rock and metal need to do themselves a favor and give this a shot.
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