Because so many of its musicians share common influences, mutual respect, and a similar struggle to balance commercial success and artistic integrity, it’s not uncommon to find progressive rock elites lending their skills to lesser-known talent (just look at the roster of players on recent records by Cosmograf, Lo-Fi Resistance, and Telergy, for instance). American multi-instrumentalist Dale Simmons’ newest project, Exovex, is among the newest projects to join the list, as its debut effort, Radio Silence, features both Richard Barbieri and Gavin Harrison of Porcupine Tree, as well as Josh Freese (NIN, A Perfect Circle) and Keith Carlock (Steely Dan, which, to be fair, isn’t really prog). Seeing as how all but one of these guests provides drums (Barbieri plays keyboards and synths), Simmons was still tasked with handling most of the instrumentation on Radio Silence (in addition to all of the singing and songwriting). Fortunately, the end result is an incredibly creative, affective, and consistent opus filled with luscious psychedelic timbres, ardent singing, and enticing arrangements. It’s a remarkable disc that demonstrates Simmons’ potential as a major force in the genre.

Unsurprisingly, Simmons cites Tool, Pink Floyd, Metallica, and Peter Gabriel as influences. Previously, he was a member of Furious Styles, and he released a solo CD prior to this one called No Read Direction.  As for the title of this venture, he claims that the idea of an “unknown creative variable” (or function) in mathematics was the major catalyst. As for the concept of the record, it “focuses on the downward spiral and ultimate demise of a man due to the psychological and physical effects of a long term, self-imposed isolation . . .” He also notes that it’s based on the life of Sibond Alleman, “a recluse who lived in residence at Chateau d’Uriage in 14th century France.” Appropriately, Simmons’ soaring yet gruff voice conveys such sentiments well throughout the record, while his backings provide dense, intense, and colorful bursts of angst, frustration, and sorrow. It’s a powerful and passionate journey from beginning to end.

To be honest, Radio Silence flows like a cohesive piece and doesn’t deviate too much from its own formula; in other words, the songs purposefully sound very much alike, so discussing them individually isn’t as necessary as you might expect. Still, there are many highlights throughout the forty-five minute sequence. Opening segment “Stolen Wings” builds slowly from ethereal atmospheres to a very direct trajectory occupied by spacey effects, shimmering guitar lines, gripping rhythms, and commanding yet vulnerable vocals. Really, it’s akin to the work of Amplifier or Big Big Train circa The Difference Machine, and it effectively blends a strong stimulus of David Gilmour with Simmons’ original vision.

Later, “Seeker’s Prayer” is softer and more fragile in spots, with an emphasis on acoustic guitar arpeggios, sharp harmonies, and dreamy stratospheres. Of course, a few biting guitar solos help enhance the mood and intricacy. Afterward, “The Last Orbit” is slower and more accessible, with scattered bits of piano laments and lovely vocal echoes, while album closer “Daylight (Silent Key)” suitably switches between desolation and enragement. It fades away with a delicate mixture of strings and piano, evoking heartbreaking air in its final moments.

Radio Silence doesn’t do anything especially new, but that doesn’t stop it from being thoroughly fascinating, inventive, and commendable. Simmons is a prodigious composer, singer, and songwriter, and he uses the specialties of his guests forcefully yet wisely so that they’re techniques are impactful and recognizable without being too flashy. If you’re in the mood for some masterfully unified, fresh, and touching psychedelic rock, you’ll do well to hear Radio Silence.