There’s no need to worry; the latest album from Styx, Circling From Above, does not revolve around birds as a concept album—at least not in the conventional sense you might think. However, in an engaging discussion, the talented guitarist and vocalist Tommy Shaw shares his passion for avian life with enthusiasm. “I often forget that not everyone shares my love for birds,” he chuckles during a chat with UCR. Residing in the vibrant Nashville area, he paints a vivid picture of the serene mornings spent with his wife, Jeanne, as they soak in the beauty of the sunrise.

The delightful symphony of bird songs beckons him outdoors, where he diligently records audio of these moments, capturing the unique variations of feathered melodies each day. Shaw humorously mentions the hefty expenses incurred from purchasing birdseed. “It’s quite a costly hobby, but I liken it to those years of spending on cocaine. This investment goes much further and serves a far better purpose,” he quips, shedding light on his quirky perspective.

The band’s 18th studio album offers listeners an intriguing exploration of themes. According to advance press materials, it serves as a collection that navigates “the complexities of the human experience through the intertwining lenses of technology and nature.” The tone of “Build & Destroy,” the lead single, certainly plants that thematic seed, while the accompanying music video visually illustrates how these two realms coexist.

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Watch Styx’s ‘Build & Destroy’ Video

What Does ‘Circling From Above’ Truly Represent?

“Ultimately, nature is destined to prevail in the grand scheme of things. We all recognize this truth. It’s an undeniable fact, yet we, as human beings, strive to impose our influence for as long as possible,” explains the band’s insightful keyboardist and vocalist Lawrence Gowan during a conversation on the UCR Podcast. “Technology represents perhaps the most significant imprint we can leave on our existence here. To me, that concept provides rich material for great progressive rock to explore. As listeners, we often try to weave together a narrative or concept, just as I do when I enjoy certain records.”

However, it’s perfectly acceptable to appreciate the album as an assortment of songs! “The initial tracks do share a thematic connection, while the remaining songs diverge from that concept,” guitarist and vocalist Will Evankovich shares with UCR in a separate interview. “[The 2017 album] The Mission was undeniably a concept album, as we had sufficient songs and ideas that aligned to create a cohesive storyline.”

“There’s consistently a thread of Styx reflecting on their environment and the world around them, and we remain committed to that,” he adds. “One of our objectives is to instill hope in our music. Our lyrics are never bleak; there’s always a silver lining. This has consistently been our approach. At times, if lyrics veer towards darker themes, one of us will suggest steering it back towards hope, as that’s what humanity truly needs, in my opinion.”

Reflecting on their surroundings, Shaw cherishes those moments when “real life intrudes,” using the bluegrass-inspired “Blue Eyed Raven” as a prime example. “This song draws inspiration from a friend who resides in Indiana. He relishes the experience of getting lost in the rural countryside along those obscure roads that are nearly impossible to locate on a map,” he elaborates. “It’s based on a particular experience he had one day, and it’s genuinely heartwarming. The track incorporates a mandolin and a standup bass, giving it a folky vibe, yet it also carries a touch of a love song. It’s not your typical Styx track; it’s reminiscent of ‘Boat on the River.’ I believe listeners will connect with the story.”

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Listen to Styx’s ‘Blue Eyed Raven’

The Essence of J.Y. in Styx’s Music

James “J.Y.” Young, co-founder and guitarist of Styx, also contributes significantly, embodying the smooth-talking persona in “King of Love.” With his distinctive voice, he articulates his vision for creating a better world. Evankovich affirms, “It’s truly enjoyable to have J.Y. as a source of inspiration while crafting Styx’s music. He serves as Styx’s guardian angel, the godfather of our sound.” The guitarist and songwriter acknowledges, “J.Y. has always looked out for this band. Thus, lyrically, with tracks like ‘Trouble at the Big Show’ or anything he touches, it reflects his personality because we hold him in deep affection.”

“He possesses a commanding presence. He knows precisely what he wants, and if he doesn’t get it, he isn’t shy about making his dissatisfaction known,” Evankovich recalls, reminiscing about the early days when he was getting acquainted with the legendary Styx member. “Finding his comfort zone was pivotal at the beginning. Eventually, he began to trust me, and I reciprocated that trust, resulting in a strong collaborative bond. He’s remarkably easy to work with; you just have to speak his language. He embodies a blend of influences from the likes of Jimi Hendrix, Eric Clapton, and Jeff Beck. That’s his musical foundation, and I share a deep admiration for those artists as well.”

‘Circling From Above’ as a Tribute to Classic Rock

As noted by UCR’s Nick DeRiso, Circling From Above unfolds like a heartfelt tribute to classic rock. It’s delightful to discover the intentional references to their influences, ranging from Queen to The Who and, of course, The Beatles. Moreover, the album unapologetically indulges in revisiting the band’s progressive rock roots, which naturally entails a wealth of vintage and era-appropriate sounds and instruments.

Listen to Styx’s ‘Everybody Raise Your Glass’

Why ‘Circling From Above’ Caters to All Styx Fans

Gowan further reveals that there’s a thoughtful approach underlying the album’s creation. Styx has always evolved, and various facets of their identity are represented in different ways. “There are fans who are devoted to progressive rock, and I count myself among them,” he explains. “Then, there are those who adore the band for its pop sensibilities, often reminiscing about the hits from the era before I joined. There exists a pop element, and then there’s a more straightforward rock approach, sometimes veering into heavy rock, which many fans appreciate about the band.”

“We aren’t catering to any single faction,” he continues. “It’s simply that between myself, Will, Tommy, Todd, J.Y., Chuck, and now my brother in the band, there exists a diverse array of influences that we want to represent. You can take a route similar to Yes with an album like Close to the Edge, which presents a singular cohesive piece. Interestingly, that album is a collection of individual segments that harmoniously blend together.”

He points to The Beatles as a pivotal influence, indirectly, especially due to the second side of their iconic album Abbey Road. “We love the concept of short, punchy ideas,” he elaborates. “To me, that approach signifies a precursor to what progressive rock became, characterized by its adventurous musicality, seamlessly transitioning between classical influences, choral elements, heavy rock, and even drum solos. All of this is present on the second side of Abbey Road—and we embrace that methodology.”

How the Old Becomes New Again in Music

Ultimately, as Shaw emphasizes, they have mastered the art of blending these elements over time. “We’re an AOR, album-oriented rock band. As a result, we’ve produced lengthy songs, minor-key compositions, and grand solos, along with tracks that feature dramatic nuances, like ‘Man in the Wilderness,'” he shares. “But we also create songs that explore different directions. ‘Boat on the River’ is a mandolin-driven piece. Even ‘Renegade,’ I initially composed the fundamental parts on the piano.”

“Although I’m not a pianist, I had a reel-to-reel four-channel tape recorder in my living room,” he recalls. “I had been inspired by Tales of Mystery and Imagination by the Alan Parsons Project. It took me some time to learn how to play it with my less-than-graceful guitar skills. Finally, I managed to get it down and recorded it on one track. I used the remaining tracks for three vocal parts. The lyrics came to me quickly, and I recorded it that way. When I listened back, I thought, ‘This sounds pretty good!’ I played it for the band, and they began crafting the arrangements. ‘Let’s speed it up. Let’s avoid making it feel like a dirge. Let’s rock it out and layer in the signature Styx harmonies during the climactic moments.’ I even confessed to Alan Parsons, ‘I feel like I borrowed some inspiration for ‘Renegade’ from one of your songs.’ His response was, ‘Paul McCartney claims I borrowed it from him.’

Thus, perhaps this illustrates the “something borrowed” aspect of their creative process, and Circling From Above certainly contains a wealth of “something new” as well—take note of the clarinet solo on “She Knows,” contributed by guest artist Jeff Coffin (of Bela Fleck and the Flecktones and Dave Matthews Band) as just one example. Rest assured, if you’ve been a Styx fan for some time, this album will likely resonate with you, leaving you far from feeling blue. Ultimately, let your ears be the judge.