Album Review: The Tirith - Quetzalcoatl (2026)
- Jun 28
- 5 min read
Written: 28th June 2026
The Tirith began as a school band in the 1970s under the name Minas Tirith, when Tim Cox and Dick Cory first started writing together, before going their separate ways for more than three decades. Since reforming in 2010, they have released three albums, building a sound that draws on their early ideas while reflecting decades of experience. Now a regular presence on the UK progressive circuit, they have shared stages with bands such as Focus, Karnataka and Gnidrolog.
Quetzalcoatl begins with a short introductory track that immediately conjures images of the beginning of a quest. Keyboards shimmer with expectation and in some ways remind me of the quieter, reflective sections of an album such as Belore’s Eastern Tales. As the title track kicks in, jagged guitar riffs alternate with thoughtful, melodic riffs and sweeping synths. Dick Cory’s vocals are delivered with a minimum of fuss, favouring a steady, measured approach over showmanship. This serves the material effectively and gives the songs a grounded, confident feel. A myth-driven song, it centres on the titular feathered serpent deity and the idea of a guiding force across generations. In the shadows of dusk, where rivers bleed the night / A serpent stirs below, in the heart of endless light / He’s the spirit of the ages, in the whisper of the wind / In the heart of every legend, where the stories all begin. Quetzalcoatl is a fitting starting point because he represents knowledge, transformation and cyclical return - core ideas that mirror the album’s movement from myth into human experience and back toward introspection. It is a compelling beginning that will pique the interest of prog fans early on.
The Slide adopts a heightened sense of urgency compared to the title track with Cory’s bass and Paul William’s drums coming more to the fore. Along with Moon King, the lyrics shift towards more human themes of transformation, emotional loss and coming to terms with change. Slide into clear light, fall through the prisms flight / Glide where the cold winds sing, balance on a crystal wing / Slide into daylight, bathed in the souls delight / Glide through the frozen tide, merge with the source inside. There is some particularly well-handled guitar work including Tim Cox’s solo on The Slide and Cory’s acoustic contributions on Moon King. Among the key strengths of Quetzalcoatl is The Tirith’s willingness to allow songs to develop naturally. This is highlighted in the evolution of tracks such as Moon King, where the band spend the first three minutes drawing us closer before revealing a stunning central instrumental section which is deliberately structured to unveil its treasures slowly.
Back To Space steps up the tempo and the energy in its exploration of urban alienation, with the reference to Lydia - the band’s spaceship from earlier albums - acting as a callback to their ongoing sci‑fi narrative of escape and return. Back to space, it’s the only way / Take a ship and get out of here / Lydia awaits where starlight plays / The time is right, back to space. Back To Space gives each member the opportunity to show their abilities. Williams is an unfussy drummer that plays for the song and Anthony Hill’s keyboards rise and fall in a familiar prog arc, building and receding with confidence, with short solos that are intricate and fluid rather than showy.
Offering variety, Rabbit Ings moves between acoustic, pastoral moments and more expansive, full band sections which add welcome tension to the song. The Tirith are clearly keen storytellers, and some of the lyrics carry a distinctly English character with a clear old‑school prog sensibility. Running down by Rabbit Ings, the eagle and the hare / They’ll chase you down by seven springs, where herons often are / And when the evening light fades in the west we’ll tarry there / Take me down by Rabbit Ings, I’ll see you there. Arrangements are well-considered and the balance between each instrument is handled with precision, ensuring nothing feels overplayed or lost in the mix. Dancing With Vampires is the perfect example of this and Cox’s guitar solo – among his best on Quetzalcoatl – glows with an effervescent verve. The chilled sections – complete with gorgeous slowly played guitar chords that briefly remind me of All India Radio – are beautifully balanced, their slow progression giving the passage a quiet dignity.
As the album continues, Spirit of the Volcano offers something different in terms of atmosphere. Noticeably darker and more grand, the lyrics frame nature as overwhelming and uncontrollable, using the volcanic imagery to underline the fragility of humanity. Lightning strikes and thunder crashes / A cloud of dust collapses under its own weight / Ash flowing across the land / Destroying all things in its deadly path. The Tirith clearly set no boundaries in terms of scope, as the nine-minute Masters of Highways illustrates. The track moves through jazz, prog and even hints of folk, yet these shifts never clash or feel disjointed.
Save The Oak, one of my favourites on the album, is a more straightforward, foot‑tapping, four‑and‑a‑half‑minute track, with the oak symbolising heritage and continuity. It acts as a clear call-to-protect both environment and identity. Over the hill, where the rabbits once played / Where the willow once wept, and the oak stood to be praised / Here comes the huntsman, here comes the axeman / The bloodhounds and all. A defiant pride runs through the music that will have listeners smiling in agreement and wanting to join the cause.
No Mind (Mushin) stands as one of the most interesting songs on Quetzalcoatl. A slow-burning track, it finds the band turning their thoughts inwards, focusing on mental stillness – Mushin is a Japanese Zen concept that literally translates as no mind. It explores how to let go of control and find clarity through instinct. Experiencing instinct, reacting without thinking / Letting go and flowing, in the energy of the moment / Entering the flow state, the fresh stream of no mind. Musically, it takes its time to develop, with real attention to detail in the arrangement. Cory’s vocals sit slightly muted, as if wrapped within his own thoughts, adding to the track’s mystical feel. There is an almost tribal edge to the drum patterns, while the piano arpeggios drift in and out, adding texture and depth, and the guitar solo remains tastefully understated, bringing everything together into a cohesive and richly layered piece. Quite captivating.
The Riddles brings Quetzalcoatl to a conclusion with bright, upbeat rhythms that link well with the lyrics, and there are clear touches here that recall Jon Anderson’s style, with musical moments that echo the spirit of Yes. Yet rather than delivering a clear resolution, it closes on a reflective, open‑ended note, leaving the listener with questions rather than answers. Seek for the truth in the moment, in mystery it dwells / There will be thoughts unspoken, deeper than magic spells / You talk to me in riddles, where are you coming from? / Search for the answer, think hard and it will come.
Quetzalcoatl asks a lot of the listener. At over seventy minutes, it demands time, attention and a willingness to follow its shifts in pace, tone and idea but that commitment is often rewarded. The Tirith keep things moving through a wide range of styles that while rooted in progressive rock, draw on folk, jazz and more expansive rock textures to keep the experience fresh. Lyrically, there is a clear sense of purpose running throughout from myth and memory through to personal reflection and questions of balance and identity, giving the album weight beyond its musical ambition. Each member contributes with confidence and restraint, playing for the songs rather than stretching for effect which helps anchor the more ambitious moments. It is not background listening nor is it designed to be taken in casually but for those willing to invest the time, it offers something thoughtful, engaging and consistently absorbing.
Quetzalcoatl is released on 3rd July 2026.
The Tirith online
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