Circling From Above transcends the notion of being merely a concept album, despite early speculations suggesting an overarching avian theme. Styx embraces this theme only briefly, reminiscent of how the Beatles approached Sgt. Pepper’s Lonely Hearts Club Band. Ultimately, this album emerges as a heartfelt tribute to the rich legacy of classic rock, seen through the unique lens of Styx’s musical journey.

Styx has played a pivotal role in the evolution of rock music, and this album features a selection of tracks that evoke the essence of their iconic late-1970s records. Key contributions come from stalwarts such as Tommy Shaw, whose track “Michigan” stems from a creative idea dating back to 2011, and “Only You Can Decide.” Chuck Panozzo’s “Ease Your Mind” showcases a captivating bass performance that strikes a balance between airy and firm, while James “J.Y.” Young’s “King of Love” displays his signature baritone and an electrifying solo. Longtime keyboardist Lawrence Gowan, alongside newer member Will Evankovich, broadens the album’s musical landscape, adding depth and variety.

The album opens with a Mobius strip-like overture that draws inspiration from the Pink Floyd playbook, seamlessly transitioning into “Build and Destroy,” which serves as the album’s vibrant lead single. Gowan’s nostalgic synth tones are perfectly complemented by Shaw’s throwback wah pedal-infused guitar solo. Another standout track, “Everybody Raise Your Glass,” is a collaborative effort between Shaw, Evankovich, and Gowan. Initially conceived as a Beatles-inspired dancehall pastiche, it evolved into a hard-hitting rock anthem influenced by Queen, highlighting vocal bravado reminiscent of the legendary Freddie Mercury.

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Evankovich delivers a delightful pop-rock homage with “She Knows,” which dives deeper into the swirling influences of the Beatles, culminating in a whimsical first-take clarinet solo performed by Jeff Coffin of the Dave Matthews Band. The track “The Things You Said,” co-written by Shaw and Evankovich, takes a sharp aim at the passive-aggressive communication style, featuring a chorus with layered vocals reminiscent of Tommy Shaw’s work during the Electric Light Orchestra‘s Eldorado era. Meanwhile, “We Lost the Wheel Again,” penned by Evankovich, channels a playful spirit akin to The Who, with a vocal delivery that echoes Roger Daltrey’s charismatic approach and drumming that captures the wild energy of Keith Moon.

At times, Circling From Above ventures beyond the traditional Styx sound. “It’s Clear” presents a solid block of MOR rock, featuring co-writers Gowan on the verses, Shaw on the chorus, and Evankovich contributing a bridge that enhances the song’s emotional depth. The narrative-driven “Blue-Eyed Raven” reflects Shaw’s artistic sensibilities, showcasing a rootsy solo reminiscent of his work on 2011’s The Great Divide. The collaboration “Forgive,” crafted by Evankovich and Gowan, radiates a delicate beauty that feels distinct from any previous Styx project. This evolution works well within the context of the album’s premise—no, not the avian theme—Circling From Above serves as a lively and irresistible exploration of Styx’s diverse influences and musical heritage.

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