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Press Release
For over a decade, NMB has stood as one of progressive rock’s most enduring and unified collectives. With their latest studio album L.I.F.T., set for release on the 27th February 2026, Neal Morse, Mike Portnoy, Eric Gillette, Bill Hubauer, and Randy George return with a work that embodies vision, passion and inspiration . Written and recorded during a period of major transition, L.I.F.T. captures the band’s creative chemistry at its most instinctive and inspired.
To coincide with this announcement, the band has launched the first single from the album, and you can watch the video for ‘Fully Alive’ (directed by Industrialism Films) now here: https://youtu.be/rk-ZJFGbfUo
Conceptually, L.I.F.T. stands toe to toe with NMB’s greatest works like their much acclaimed concept album “Similitude of a Dream”, combining emotional depth with the band’s trademark progressive rock grandeur. “In short, L.I.F.T. is a prog concept album that follows the journey of someone seeking to belong to something greater than themselves” Morse explains. “It starts with feeling connected to the world and life, then there is a break in belonging, after which comes the turmoil and desperate cry, leading to a return to that place of profound connection.”
The album title came late, though its meaning remains intentionally vague. “We thought it could stand for different things,” says Randy. “It’s kind of whatever the listener wants it to be.”
True to the band’s collaborative spirit, L.I.F.T. began with the usual whiteboard full of ideas, with columns under each member’s name filled with riffs and snippets. However, few of them made it onto the final album. “We hardly used any of the ideas on the board,” says George. “Most of it was written right there in the room, more so than in the past.” While Bill Hubauer contributed a few early sketches, and Morse improvised piano pieces that evolved into key themes, much of the music took shape spontaneously.
The sessions were engineered by longtime collaborator Jerry Guidroz, with all drum tracks recorded on-site before each member continued working individually from home studios. For the first time, NMB worked entirely outside their familiar recording environment, at Eric Gillette’s studio in Tulsa, adding a layer of uncertainty to the process. “It was strange not being in the usual studio,” George admits. “But hearing the final mixes, it all came together beautifully.”
Mixing once again fell to longtime collaborator Rich Mouser, who has been refining NMB’s complex sound for years. As George explains, the band sends him the tracks and lets him work independently: “We just let him do his thing.” Despite the enormous amount of detail in the arrangements, Mouser once again delivered a mix where “everything lives.” The drums, in particular, stand out. Mouser will experiment by removing or combining elements “to see what it sounds like if this isn’t there.” The result is another brilliant showcase of the band’s trademark sound.
L.I.F.T. is everything the NMB fan could hope for and will surely live on in the great canon of the band’s outstanding career as one of their best.
by Victor Giol
In the early fall of 2023, the progressive rock world was lit up with excitement by the announcement that Mike Portnoy would be returning to Dream Theater after his shocking departure more than a decade earlier. As the news spread quickly, a new question arose: how would the bands in which Portnoy had remained active and productive during his time away from DT continue moving forward? The long-hoped-for reunion, complete with expectations of a new album, reunion tour, and subsequent album tour, suddenly placed the future of Morse/Portnoy collaborations into question, at least from a timing perspective. Would there still be room for Portnoy to operate outside the Dream Theater universe?
The answer arrived like a surprise gift on Christmas morning. In early December 2025, the Neal Morse Band, now known as NMB, revealed that the band had convened in secret, at Eric Gillette’s home studio, to write and record a new album during the spring of 2025. Featuring the familiar and formidable lineup of Neal Morse, Mike Portnoy, Randy George, Eric Gillette, and Bill Hubauer, NMB delivers a fun, inspired, and deeply engaging album in L.I.F.T., their fifth studio release and first since Innocence & Danger in 2021.
L.I.F.T. immediately distinguishes itself as a strongly focused, single-disc concept album. As fans have come to expect from NMB, the opening track “Beginning” serves as an instrumental overture, instantly easing the listener in with top-tier production and compositional finesse. Memorable, singable melodic themes are introduced right away and seamlessly transition into the next track. “Fully Alive” launches the narrative with Morse and Hubauer trading vocal lines and harmonies during verses. This mid-paced piece steadily builds, highlighted by its soaring chorus and the first of many blazing Eric Gillette guitar solos.
“I Still Belong” acts as a brief transitional piece that would feel at home on ‘The Similitude of a Dream’ album from 2016, featuring a passionate vocal performance from Morse, before giving way to the instrumental “Gravity’s Grip,” where the band flexes its technical chops and showcases its continued musical maturation atop Portnoy’s relentless rhythmic foundation. This sets the stage for the musical highlight of the album’s first half, “Hurt People.” An anthem-like rocker with Gillette on lead vocals, the track features a thrilling middle instrumental section with dueling guitar and keyboard lines, intricate odd-time shifts, and dynamic drum fills that will have listeners air-drumming along. This is NMB’s musicianship firing on all cylinders. Next is the dramatic and emotionally charged “The Great Withdrawal,” highlighted by an over-the-top Gillette solo before the song winds down to Neal Morse’s lone voice.
The first half of the concept continues with the polyphonic piano introduction of “Contemplation.” This short instrumental leads to “Shame About My Shame” which marks the point in the story where the main character has hit bottom and comes to terms with being broken. Morse’s vocals shine alongside the backing choir, while the guitar solo—tinged with a Pink Floyd–like atmosphere—ushers the mood from shame and sadness toward hope and joy.
The second half of the album picks up with “Reaching,” an uplifting, uptempo rocker where NMB’s collective vocal harmonies are fully on display. The emotional arc now trends upward, with the song’s chorus standing out as one of the album’s highlights. Morse and Gillette split lead vocal duties on this one, while the modulation to a higher key provides an extra lift. This song recalls previous NMB anthems like “The Call” and “The Great Adventure.” “Carry You Again” begins with Morse on vocals and acoustic guitar before gradually building into a full-band arrangement, combining a steady groove with a wall of harmonized voices. The track strikes a balance between the unmistakable sound of NMB and the uplifting spirit of a modern worship song.
The album concludes with a powerful trifecta that brings the concept to its climax and resolution. “Shattered Barricade” serves as a transition into “Fully Alive Pt. 2,” which reintroduces earlier musical themes with renewed energy—most notably in the final 90 seconds, where some of the album’s heaviest instrumentation and arrangements take center stage. All of this leads into the expected, but nonetheless incredible, closing epic, “Love All Along.” At over 11 minutes, the track serves as a microcosm of L.I.F.T., beginning with a somber, restrained vocal from Morse before steadily building and recalling earlier lyrical and musical motifs. Morse, Gillette, and Hubauer trade vocal lines alongside a harmonizing choir, culminating in an epic ending that only the Neal Morse Band can deliver.
It is clear that NMB has crafted yet another excellent album, driven by collective inspiration, focused intention, and a long-established chemistry that continues to deepen with each release. L.I.F.T. strikes an ideal balance between conceptual narrative, musical virtuosity, compositional depth, melodic accessibility, and progressive complexity, all woven together by the magic sauce, Rich Mouser’s unparalleled mix mastery. The result is an instant NMB classic that can comfortably stand alongside the band’s most beloved releases.
Pete Swinton is a half Hungarian, half Polish man born in London, UK in 1961. Since 2015 he has lived in Jawa, Indonesia. He
began
playing guitar in the '70s. He started playing keyboards in the 2000s.
He makes Ambient and Experimental music. And a cross between the 2 which
he calls Insanbient music. He likes cats and motorbikes.
Pete Swinton is an ambient music producer known for his unique soundscapes and albums like "HUNGER" and "HOMO CRETINOUS." His work often explores themes of human experience and contemporary issues through atmospheric compositions.
Overview of Pete Swinton
Pete Swinton is an ambient music producer recognized for his innovative soundscapes and thematic albums. His work often delves into human experiences and contemporary societal issues, creating immersive auditory experiences.
Notable Albums
| Album Title | Release Date | Themes and Concepts |
|---|---|---|
| HUNGER | October 26, 2021 | Inspired by Knut Hamsun's novel, it reflects the psychological effects of extreme hunger through ten evocative tracks. |
| HOMO CRETINOUS | April 15, 2022 | A critical exploration of modern dependency on technology, featuring ten tracks that blend dark drones with rhythmic elements. |
Musical Style
- Soundscapes: Swinton's music is characterized by atmospheric compositions that evoke deep emotional responses.
- Themes: His albums often address complex themes, such as human suffering and societal critiques, using ambient sounds to enhance the narrative.
Collaborations and Projects
Swinton has collaborated with various artists, contributing to multiple projects that showcase his versatility in the ambient genre. His work includes contributions to compilations and collaborative albums, further establishing his presence in the ambient music scene.
This sophomore album was a definite harbinger of things to come as the next "Island of Misfit Toys" will
consecrate Timothy Pure with prog excellence. The band came out of peachy Atlanta with a decent debut
that had all kinds of promise plastered all over it. A few personnel changes to set the boat straight and a
style is born, a strong spacey Floydian influence but thankfully without the immense showoff egos. Matthew
Still is an effective keyboardist but an even better vocalist, owner of a dreamy set of pipes that amplifies
the murky energy of the music and can snarl when needed. Andre Neitzel on bass does a lissome job
weaving his down low notes deep into the rhythmic fabric set by drummer Chris Wallace. Guitarist Zod
(yeah, I know.) does not attempt to be a guitar god (zod=god?), staying well within his tonal limitations
and sealing the arrangements as a team concept and not 4 virtuosos showing off their chops. Let it be said
right away, this is not the most complex material ever recorded but it has a very original style that
reverberates often through the course of these tracks that flow into one another, as if one long suite. Not
much change of pace either, Timothy Pure come across as jacks of one trade, relying on some superbly
mysterious melodies to keep the doom moving forward. "Blood of the Berry" has some luminous
moments, such as on the fantastic "Slide", the extraordinary "The Afterglow" and the lilting "Magdalena
Hell", all imbued with a mystical haze that is quite attractive, even after multiple spins. There is a slight
similarity with fellow American bands Singularity and Discipline, both having made some admirable
recordings. While this is a good release and thoroughly enjoyable, it still lacks some fire in the belly which
would catapult it into the upper reaches of excellence. The best is yet to come. 
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