After an evening of fully bright skies and sunshine, following unexpectedly snowy weather that has already covered the entire city with ice. In the midst of this surreal journey in Helsinki, today, I am writing about Brian Porritt, hailing from London, England, and his latest soft prog-rock single, “Thirty Years to Zero,” released on March 10, 2024.
Thirty Years to Zero by Brian Porritt (Official Audio)
I was first introduced to Brian Porritt with “Thirty Years to Zero,” just yesterday. After giving the song multiple listens, I thought it would be worth writing about this complicated yet simply beautiful work of art. While I still have some points of confusion, his musical concept reminded me of artists that I personally enjoy in my playlist, and I would be delighted to have more variety in this musical climate.
First and foremost, Brian’s work shines brightly, primarily due to the foundational work showcased in “Thirty Years to Zero.” Musically, the song incorporates diverse elements that one doesn’t usually hear together. While the concept belongs to both alternative and progressive rock worlds, yet the artist also incorporates exotic instrumentation and electronic elements that emphasize character. Every time I got confused about some details, I was unexpectedly reassured by the way Brian sounded confident, leaving you in doubt deliberately by his choices in the making, which I will detail further.
Musically, the song combines alternative, soft, and prog-rock, complemented by art, electronic, and experimental rock elements in its musical language, led by a game-changing vocalist. While the artist does not differentiate himself with his voice or singing talent alone, the way his duo vocals are incorporated throughout the song is quite a feature, playing an indispensable role in his music. I am entirely convinced that the artist has found the magic he needed to reach the highest point possible, an example that reminded me of Bon Iver, Kings of Convenience, and even Alice in Chains at times. Despite the similarities in the practice, “Thirty Years to Zero” offers a fresh experience from start to finish; as mentioned earlier, Brian Porritt’s foundational work remains familiar and memorable.
On the other side of the coin, there are a few points I’d like to share. Firstly, I am wholeheartedly convinced that the production standards of this song do not represent the artist’s actual potential, even though the craftsmanship in his vocal characterization and mix is nothing less than fascinating. However, aside from the vocals, everything else is mixed with a specific EQ that significantly neglects all bass channels for an unknown reason, creating a surreal yet anticlimactic soundscape. Nonetheless, it would be an intriguing experience to hear Brian Porritt’s musical and vocal talents with the production standards of Bon Iver, for instance, because one can only argue that it could sound world-class.
Other than that, Brian is just another artist with outdated visuals and a mysterious profile that I’ve discovered lately. With all due respect, I simply don’t think that this specific approach benefits any artist from a music enthusiast’s perspective.
In conclusion, discovering Brian Porritt and his music has been a great pleasure. He incorporates soft, alternative, and prog rock with art and experimental elements, all led by characteristic vocals reminiscent of Bon Iver and Kings of Convenience. Thank you for reading.
Brian Porritt on the Web:
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