The indefatigable Neal Morse is back with the second half of his Joseph double-concept album. I cannot remember an album of his I've not anxiously awaited, but after the letdown that was The Dreamer (you can read my review here), I didn't have the usual lofty expectations for The Restoration. Of course, any project with multiple installments must be analyzed as a whole before fully judging any of the parts, but I still wasn't expecting much. I'm happy to say my expectations were once again subverted, this time in a favorable direction. Last time, I mused the project being "behind the 8-ball" without bandmates Portnoy and Gillette, and while I certainly felt that was true in the prior entry, I didn't find myself missing anything here, which is a tremendous relief. One of the catalysts for this is the seamless yet snappy style changes within each song that keeps you guessing throughout and hearkens back to the great Morse albums of yesteryear.

The story picks up with Joseph in prison, after being falsely accused by Potiphar's wife. "Cosmic Mess" begins the album with mixed results. The zany opening is classic Morse, as the music mirrors Joseph's puzzled emotions, yet the verses seem disjointed, and many of the lyrics seem forced. Things take off from here, thankfully, as from "My Dream" till the "Overture Reprise" is some of best work we've heard from the artist in a while. Each of these tracks boast something unique, while simultaneously introducing us to characters in the story. The carousel of vocalists (the usual suspects) fare much better this time around, adding an elaborate atmosphere to the project. "My Dream" is a brisk classic-rock tune with a chorus that has been stuck in my head for days. "Dreamer In The Jailhouse" has excellent back and forth vocals between the Pharaoh and The Butler, leading into one of Morse's trademark score-like themes. "All Hail" treads many diverse musical leanings while declaring the thesis statement, "God uses everything for good." The eclectic "The Argument" uses a polyphonic vocal delivery, yet another trademark technique, helping to keep up the interest level during the album's hefty runtime.

The back half by-and-large stays just as high-quality, though it sometimes gets caught up in the storytelling, sacrificing singable melodies in favor of advancing the plot. Morse has always unashamedly worn his influences on his sleeve, that being mainly the blues and progressive rock of the 70's, and as such, some of the content seems a bit dated to my ears. This is especially heard in the "talk-singing" during the bridge of "Cosmic Mess," and the main riff and format of "I Hate My Brothers." Though it's usually self-aware in this regard and doesn't take itself too seriously, it straddles the line a bit too close towards parody for my taste. Because of this, the reveal of Joseph to his brothers doesn't quite give the emotional pull I was hoping for. On the flip-side, this joyful representation lends itself wonderfully to the closing act, "Everlasting," as the family rejoices in God's love and forgiveness.

The Restoration improved upon its predecessor in every facet, and that deserves to be commended. Although it didn't add anything decidedly new either story-related (which is probably a good thing), or musically, I was reminded why Neal Morse has been a visitor to my ears ever since I stumbled upon his music. His formula for these "story-to-music" productions may be repeatable, but they are unique to the Christian music space, and as long as they remain of this caliber, I'll keep coming back.