Envy Of None – Stygian Waves: Album Review

By John Barlass on 23rd March 2025 • ( Leave a comment )

Ethereal, pastoral, retro-80s and experimental. ‘Canadian Supergroup,’ Envy Of None find new avenues to explore on their sophomore album, Stygian Waves.

Release Date: 21^st March 2025

Label: Kscope

Formats: CD / Vinyl / Blu-ray / Digital

CANADIAN SUPERGROUP

Often described as a ‘Canadian Supergroup’ (a name that the band members themselves would probably refute) Envy Of None (EON) are: ex-Rush guitarist Alex Lifeson, Andy Curran (Coney Hatch and Soho 69) on bass and programming, producer supremo Alfio Annibalini on keyboards and American singer-songwriter Maiah Wynne on vocals. Stygian Waves is the band’s sophomore album, the follow-up to 2022’s eponymous debut.

The album’s title is taken from the work of the roman poet, Ovid, whose poem of that name spoke of “Stygian Waves and turbulence at the gates of hell.” In the opinion of Alex Lifeson, that sounded an appropriate summary of where the band were at as they recorded the album.

Alex takes up the story: “There has been a lot of growth both musically and individually on a personal level for all of us, especially Maiah – I can see how she’s really blossomed.” And Maiah agrees: “There’s a very special musical bond between us. I pushed myself a lot more this time and part of that was due to the growth and trust in each other. We created space where we could experiment more and encourage each other to really push the limits.”

A WORTHY ACHIEVEMENT

Stygian Waves is, indeed, a worthy achievement. The album’s eleven tracks see the band making the very best use of Maiah’s ethereal vocal tones, whilst the instrumentalists stretch boundaries to delve into pastoral themes, sounds that repurpose funk and the sparkle of the 80s for the mid 2020s whilst also finding time for a few spots of far-reaching sonic exploration.

INTIMATE VOCALS AND STUNNING GUITAR SOLOS

Grinding guitar, clangy bass and skin-tight drums provide the counterpoint to Maiahg’s light, dreamy vocals in opening track, Not Dead Yet. Describing the track, Alex said: “There were little seeds of lyrical ideas but the real magic was in how Maiah would have a completely different interpretation” and that’s a process that’s clearly evident in the finished product. The solid rhythm and the jangly guitars are nice but, more than anything, this song is a showpiece for Maiah’s delivery.

Even so, Maiah’s whispered, intimate, vocal comes as something of a surprise in The Story. Guitars sparkle like falling shards of silver as a chugging, driving rhythm propels the song along and, when it arrives, Alex’s guitar solo reaches for the heavens. The intriguing, winding melody of Under the Stars is already attracting plaudits. It’s been described as: “…the strongest ballad any of these musicians have put their name to,” and it’s easy to understand why. Metallic bass, drums that shuffle and crash and copious applications of echo – to both drums and vocals – provide the atmosphere, as another stunning guitar solo from Alex brings the song to a climax.

FUNK, ANYONE?

EON take their first detour into funk territory for the sharp, choppy Thrill of the Chase as Maiah bewitches with more of those supremely ethereal vocals, and we stick with funk for the quickfire, spacy and intimate Handle With Care. It’s another supreme vocal performance from Maiah on a song with lyrics that express vulnerability but which, in Maiah’s hands, ooze with ecstasy, especially as she sings the song’s “I’m fragile now” refrain.

Synth and electronic sounds introduce the hard-driving rhythm of That Was Then, a song in which the 80s references blend nicely with a 21^st century trancelike vibe, and the 80s feel is retained for Raindrops, a song awash with interesting plonky keyboard sounds and a pulsing electronic rhythm. It’s funky and immediately likeable; Maiah’s vocals are still light and dreamy but they’re well-forward in the mix and Alex’s guitar sound verges upon the psychedelic.

EXPERIMENTS AND ANTHEMS

Speaking of New Trip, arguably the album’s most experimental track, Alex said: “I don’t know if I’ve ever heard anything like it. There’s a quality that’s soft and glowing. When I listen to it, I close my eyes and see this warm afternoon sunshine that makes me feel calm and peaceful [and] from the very moment I heard Maiah’s vocals, I was blown away.” It’s certainly a gentle, easy, song, with surges of sound from Alfio’s keyboard softened by Alex’s guitar and Maiah’s heavenly vocal tones – and there’s even an acoustic guitar in there somewhere!

I’m reminded of 80s bands like St Etienne or Opus 3 by the whispy Clouds, before we’re brought back into the here and now as Andy’s clangy bass introduces The End, possibly the album’s most memorable track. “The end is closer than you think; The end, in the blink of an eye; The end – it’s not too late to change; The end – it’s what you leave behind,” sings Maiah, on a song that is anthemic, thoughtful and engaging.

WHERE NEXT FOR ENVY OF NONE?

Which leaves us with just the instrumental title track… And those Stygian Waves are evoked as drums patter and crash, guitars surge and roll and woodwind sounds provide a beacon towards which the foundering vessel can navigate. In the distance, Maiah calls out a warning but, ultimately, we’re left to wonder whether that stricken boat ever did make it safely back to dry land. It’s an invigorating way to close the album and, perhaps it’s a signpost towards where Envy of None will be headed next?

And, speaking of next steps for Envy Of None…

The four band members have yet to appear on stage together but calls for a world tour persist and they’re almost at the point at which they can no longer be ignored. Conversations are certainly ongoing within the band; will Stygian Waves be the album that provides that final push? We’ll see…

Watch the official video to Not Dead Yet, the album’s opening track, below: