So, it is written – a thousand years ago
Makaria and Tovenaar were born
So, it is written – the two of them were twins
Demonstrating gifts too forceful to ignore
It is written – From what I can discern
The sister and her brother stood apart
The boy brought calm – but turmoil took the girl
So, balance kept the scales from tipping far
Chaos would not thrive – While Tovenaar survived
The human race was free to live unchained
Live unchained
- Lady Agatha, “Demigod”, “The Mortal Light”, Act 1
A few years after the release of "Alchemy" and "King’s Ransom," the brilliant Professor Samuel King, along with his devoted friends, returns to face another danger - more menacing than ever before - and to experience an adventure whose finale will decide the fate of the world. Makaria, a mysterious deity corrupted by evil and the object of the bloodthirsty "Witan" cult, having defeated her brother - Tovenaar - is secretly gathering her forces and army in the far north of Norway to seize control over the world. Only can the wit and keen mind of Samuel King meet the task of stopping the dark goddess from plunging everything into darkness and destruction.
The Professor thus mobilizes his forces and is ready to do anything to emerge victorious from the skirmish with the blood-curdling Makaria... He is even willing to forge unusual alliances and cross the thin line between life and death - all thanks to a mysterious artifact delivered to him by an even more mysterious monk…
An artefact imbued with immense power
This will surely balance up the scales
Believed to be the final breath of Tovenaar
The Mortal Light is destined to prevail
I offer you the power of this amulet
And my faith in the protection it will bring
Now comes the time – It’s up to you my friends
Which future will you help the three Norns spin?
- Caleb, “Prophecy”, “The Mortal Light”, Act 1
In the third part of Clive Nolan’s epic "alchemical," two-act musical, Maestro immerses the listener in the poignant Gothic-Steampunk realities of Victorian England, where mysticism, mystery, and intrigue intertwine with theatricality, humor, and the ceaseless excitement of an unfolding expedition. The adventures of Professor King, presented once again in the form of a musical, are a musical feast maintained in the best tradition of English sung plays. The plasticity and expressiveness of the musical delivery allow one to very easily visualize the described scenes.
The music contained in "The Mortal Light" evokes a whole range of emotions in the listener. It maintains as well as releases tension, it moves, stimulates, and also - at appropriate moments - calms and cools down. Clive Nolan's artistry, experience, and immense knowledge of the subject are audible in every note and melody of the third part of Professor King's adventures.
We balance on the very edge of chaos
Makaria would rule us all as one
We must travel far to her domain
And find a way to end this savage reign
- Professor King, “Decisions”, “The Mortal Light”, Act 1
The music is sublime, epic, and also baroque in its momentum, scope and variety. In addition to typically "musical-orchestral" tracks (e.g., "Magician," "Witch"), "The Mortal Light" also has a progressive and rock edge, which becomes apparent in compositions such as "Cavalry" or "Guardians" (being the most poignant and heart-wrenching track on the album, perfectly sung by Ryan Morgan, who also plays the main character in another epic work by Maestro Clive Nolan - "The Songs Of The Wildlands").
We balance on the very edge of chaos
Compelled to take the devil for a dance
We must cross a line and take the road
That threatens to destroy our very souls!
We balance on the very edge of chaos
We must cross a line and take the road
That threatens to destroy our very souls!
- King, Eva, Tom, Alice & Deeks, “Plans”, “The Mortal Light”, Act 1
The craftsmanship, professionalism, and skill of the vocalists involved in "The Mortal Light" are truly impressive. Powerful voices resonate with astonishing strength both solo and together. The characters’ portrayals on the album feel very authentic and convincing. Every single voice is unique enough that the listener is able to distinguish which character is speaking at a given moment and what they are declaring without any difficulty. Deserving special distinction are Andy Sears in the role of the cunning Lord Henry Jagman, Chris Lewis playing the role of the good-natured and kind-hearted Edwin Deeks, and Christine Ekeberg embodying the clumsy but talented and very charming Alice Hyde.
I could sing, I could shout, I could sow, I could reap
My heart beats so loud; Oh, I could dance, I could leap
The lights could go out, but it won’t change the view
I know who I am as long as I’m with you
As long as I’m with you
- Alice, “Wings”, “The Mortal Light”, Act 2
In particular, in the aforementioned track "Cavalry," Chris Lewis plays fantastically with his voice, which is stylized as trembling and elderly (yet still powerful!), placing the appropriate emphasis on intonation, which indeed produces the effect as if he were truly instructing his friends that he would be ready to overcome every element and every obstacle to rush to the rescue. Furthermore, the creation of Henry Jagman immediately reveals to the listener (even one unfamiliar with previous parts of the musical) whom the heroes are dealing with - the tone and timbre of Andy Sears' voice show that Jagman is a villainous, calculated, cynical shady character. Yet, as the story shows, even he deserves a second chance. Alice Hyde, on the other hand, is his complete opposite - a kind, warm-hearted, and gentle girl whose hidden knack for explosives is one of the keys to defeating Makaria.
Here I have – a common pack of cards
But first things first I’ll shuffle them like so
(Alice starts to shuffle, but fumbles and drops some of the cards)
Oh!
- Alice, “Magician”, “The Mortal Light”, Act 1
The absolutely perfect diction of all vocalists involved in the project is worth emphasizing. Every word and sentence, both spoken and sung, is very clearly and accurately audible, thanks to which the recipient understands everything and can follow subsequent scenes without the need to reach for the lyrics booklet included with the physical release. This is also thanks to the phenomenal mix, mastering, and technical post-production done by Karl Groom - despite the multitude of instruments, tracks, and non-musical effects, the expressive and clean vocals are always on top (as they should be in a lyrical-theatrical musical) and are never drowned out in any way.
It is also impossible to ignore the aforementioned "non-musical effects" woven into the narration - for example, the complaining of a dissatisfied crowd, conversations, the cascade of Alice's pyrotechnic tools falling to the ground with a bang. They diversify and make the message of individual scenes in the album more realistic, making it easier for the viewer to imagine the enacted scenes. They thicken the atmosphere of the scenes, complementing them. Moreover, their quality and placement in space are excellent, and their frequency of occurrence is appropriately balanced.
Therefore, from a purely audiophile-technical angle, the album is a true phenomenon and will always provide unforgettable sonic impressions.
So, the journey now begins – Fortune and prosperity
So, the journey now begins – Harmony in unity
So, the journey now begins – Fortune and prosperity
So, the journey now begins – Harmony in unity
So, the journey now begins – So, the journey now begins
So, the journey now begins – So, the journey now begins
- Chorus, “Wedding”, “The Mortal Light”, Act 1
Clive Nolan's versatility and knowledge of theater plays and musicals are also revealed in the construction of the entire story. Various motifs and topoi are woven into the expedition of Professor King and his friends - including romantic love, psychomachia (the battle of good and evil for the human soul), redemption, prophecy, and loss. Maestro Nolan weaves joyful and melancholic threads with masterly ease, creating a complete work - a musical that touches the entire palette of human emotions at the appropriate moments.
In the course of the musical, Clive Nolan also combines the sacrum and the profanum. On one hand, the story concerns an ancient, power-hungry deity, and the heroes cross the boundary of life and death traveling between the mortal coil and the dominion of the dead. On the other hand, there is the possibility of redeeming one's lost soul in this villainous world, romantic love can appear at the least expected moment, a miracle can happen despite all odds and hope for defeating Makaria comes from a humble, inconspicuous, and secretive monk from the distant, isolated English Cotswolds.
Tay Var Low Say Tay Var Saw May
Tay Var Low Say Tay Var Saw May
Judgement weighs us down – Fettered to the ground
In conscience we parade – Prisoners till we fade
Freedom gone for good – We never understood
In sorrow we decay – Prisoners till we fade
Judgement weighs us down – Fettered to the ground
In conscience we parade – Prisoners till we fade
Freedom gone for good – We never understood
In sorrow we decay – Prisoners till we fade
- Chorus, “Fade”, “The Mortal Light”, Act 1
Humor is also an extremely important element of "The Mortal Light", which reveals itself both in character creation (the exaggerated ex-antagonist Henry Jagman on the road to redemption, the exceptionally clumsy yet personally charming Alice Hyde), intonation and voice (Tom Worthy unnecessarily pitying his own fate in "Satisfactory"), as well as in the presented situations and wordplay (absurd and failed magic tricks in "Alice", interaction with immoral vendors in "Crime").
The juxtaposition of humor with the cosmic, dark deity constantly lurking over the heroes allows for balancing the tension and maintaining the story in a state of constant play between horror and lightness, thanks to which the whole does not fall into excessive seriousness nor farce.
You are but a grain of sand
Falling through the hour glass
Nothing more than blood and bone
To fall before Makaria’s throne
Lost amongst the cold remains
Of others who have failed
And you will surely fail
- Spy, “Spy”, “The Mortal Light”, Act 2
What's more, according to the booklet included with the physical release, the script for the story contained in the album was created in two (!) days. This is particularly significant considering the complexity of the story and the maintained diversity of characters, motifs, and references to previous parts ("The Mortal Light" is a natural continuation of the adventures from "Alchemy" and "King’s Ransom," and events from the first and second parts have their consequences and reflection in the third part).
You can study different traits
Behind Sophocles or Blake
You could write a learned paper
On the history of cakes
- Alice, “Guidelines”, “The Mortal Light”, Act 1
Attention ought to also be paid to the creation of the antagonist, played by the talented Laura Piazzai, also known from the "Imaginaerium" project. Makaria seems to be always in the shadow, elusive and dangerous - Laura fits this role perfectly with her expression to the mysterious and dark entity powerful enough to threaten the world from distant and ice-bound Hamninberg in Norway. The name of the ancient deity matches the one borne by the daughter of Heracles and Deianira in Greek mythology.
However, the antagonist's story differs from her mythological equivalent. A thread appears regarding her twin brother, Tovenaar (from Dutch: wizard/sorcerer), who resisted the forces of chaos but was ultimately defeated by his sister possessed by evil and villainy, and only the titular "Mortal Light" - the mystic artifact of the monk Caleb - is capable of stripping the thousand-year-old Makaria of her immortality.
I am fate, I am fortune
I am judge, I am jury
And for you my friend
I am death!
- Makaria, “Makaria”, “The Mortal Light”, Act 1
Standing in opposition to her is Professor Samuel King - the protagonist, as well as a charismatic and brilliant strategist - whose role has been played by Clive Nolan continuously since the first part of "Alchemy". King, with his brilliant solutions, constitutes the core of the entire machine set in motion against Makaria's desires - he is also, by a twist of fate and wordplay ("Makaria will meet a King bent on her destruction…"), part of the prophecy heralding her downfall. Only he, together with faithful and brave friends (and unexpected allies...), can save the world from darkness. Clive Nolan, like all the other vocalists, masterfully conveys the character's nature and builds his role with full sensitivity, flawlessly rendering every nuance.
Now, the rumour mill, it grew, and accusations soared
Such wild speculation could no longer be ignored
Her nose was far too crooked,
And she owned an angry cat
A broomstick in the corner
Endless balderdash like that
- Professor King, “Witch”, “The Mortal Light”, Act 2
Deserving special distinction are the creative and dynamic dialogue scenes from "Decisions" and "Plans", in which the Professor indicates that difficult times force difficult and non-obvious alliances, the intelligent verbal skirmishes of the Professor and Jagman in "Agreement", or the temptation in "Seduction", during which King tries not to surrender to Makaria despite the vision of unlimited power, so that the prophecy is fulfilled in favor of all humanity...
Safe places, warm embraces
Kisses from heaven, far away faces
Each one of these is a part of life’s plan
Soon we will hold the world in our hands
- Makaria, “Seduction”, “The Mortal Light”, Act 2
The physical version of the album with discs is released superbly. In an originally opening box featuring the album cover created by Mark Buckingham, one can find four CDs (Act 1, Act 2, and two Bonus Discs - Instrumentations & Vocalisations) and three booklets - "Behind The Scenes", "Act 1", "Act 2”. The first of the aforementioned booklets contains information about all persons involved in the creation of the album, the history of its creation, as well as behind-the-scenes photos from the entire recording process of the musical. In the booklets, Clive Nolan shares with the listener, inter alia, the adventures related to building a new studio, and also how complicated and extensive the process of creating a musical work is.
Recording something like this was never going to be a fast process... twelve principal singers, thirty-two chorus voices, twenty-three cameo lines and appearances, fourteen people involved in all the foley work, drums, guitars, bass... you get the idea. In the middle of all that I moved house, which put the whole project on hold for quite a while. Then, by the time you throw in various band albums and tours, that pretty much brings us up to here!
- Clive Nolan in booklet to Act 1
The Bonus Discs contain additional materials concerning the musical. These include demos, performances of tracks by other people (particular attention should be paid to the fantastic "Guardians" sung by Damian Wilson), as well as alternative versions of some tracks (for example, "Siege" with a majestic solo by Mirek Sangrigoli instead of vocals).
Here is a collection of demos and ‘off cuts’ which I collected during the four years it took to make this album. I always record all the vocals to begin with, so it is great when I manage to persuade whoever happens to be visiting to throw their voice down on some of the tracks! This really helps me to hear the musical in a different way. Many of these demos are just as I made them three or four years ago, which means that the instrumentation may not be final, or the drums or guitars or bass may just be samples, but I think that adds to the flavour of the moment they were created.
- Clive Nolan in “Behind The Scenes”
The cover and the entire visual layer are beautiful, minimalist, atmospheric, and harmonizing with the previous parts of the "alchemical" musical. The colors characteristic of the two previous works - black, red, and white - are preserved.
The cover art depicts the side profile of Professor Samuel King holding the titular "Mortal Light", surrounded from behind by a dark figure - undoubtedly Makaria. The image on the cover is maintained in a comic book style, bringing to mind Japanese manga.
The illustrations contained in the booklets are full of details and depict specific scenes from the musical - for example, the darkness of Purgatory, to which the brave heroes go, or the steamboat on which they travel to the ice-bound lands of distant Norway.
The visual layer of the album perfectly completes the image of the entire record and from the very first moments introduces the listener to the universe of mysticism, spiritualism, and the darkness of "The Mortal Light."
This is your path
Do what you know must be done
More than anyone
Now it feels strange to stay here
Leaving you to face these fears
Fate can be cruel
Don’t be too proud to retreat
Better than defeat
If you need help, then send word
Have no doubt you will be heard
I am your cavalry waiting to ride
Call and I’ll fight by your side
- Deeks, “Cavalry”, “The Mortal Light”, Act 1
It is also worth noting the fact itself that the album is maintained in a steampunk style, which is rare and original considering the entirety of humanity's cultural and artistic achievements. This is a style, which is niche and still explored. Clive Nolan's three-part musical is a musical phenomenon in this regard - there is no other such extensive and monumental musical work that would set the action in the style of an alternative world of steam and mechanics.
The musical also contains references and nuances that might escape even the most meticulous listeners and fans of Clive Nolan's work. For instance, one of the titles from “Act 2” of the musical is "Siege" and the latest work of the "Imaginaerium" project is precisely "Siege" - an aum about different forms of "sieges" during human life. What's more, the main antagonist in the musical - Makaria - is played by Laura Piazzai, who also sings in the newest "Imaginaerium" work.
During the album, the words "Tears… lost in the rain" are also spoken, which constitutes a reference to the legendary monologue of the dying android Roy Batty from "Blade Runner" from 1982, played by Rutger Hauer (All those moments will be lost in time, like tears in rain. Time to die), while the musical’s final sequence was inspired by the ending of Steven Spielberg’s adventure film, Indiana Jones and the Last Crusade...
Time… slips through our fingers
Tears… lost in the rain
Hearts… they break in sorrow
Lives… are lost in vain
We watched, and we waited
But now’s not the moment for us to turn and hide
- Caleb, “Guardians”, “The Mortal Light”, Act 1
"The Mortal Light" by Maestro Clive Nolan is a total musical. It is a work with immense and impressive scope in terms of music, poetry, and theater. The musical presents a mature, multi-threaded, immersive, and original story, and the music contained in it moves and evokes a whole range of emotions - from sadness, through anxiety, and ending in euphoria. It is the best of the three parts so far and constitutes a perfect conclusion to the trilogy about the adventures of Professor Samuel King. During the reception of the album, the listener sees the depicted events with the eyes of imagination, can identify with the appearing characters, and experience another epic adventure together with them.
In a way, Professor King is also in a state of constant "siege" - whether he wants it or not, adventure will always sneak into his life and before one ends, another is already beginning. Does this mean we will hear more about Professor King in the future? Will Samuel King take on another challenge and once again save his world from destruction? The ending of "The Mortal Light" would indicate so…
Until then, we can only speculate... and watch with bated breath to see where the next chapter of this extraordinary story will lead us.
