Until the House Falls finds Benjamin Dean Wilson operating at the peak of his peculiar powers, delivering a bold, theatrical listening experience that blurs the lines between album, audio drama, and cinematic storytelling. Billed as a four-part musical radio play, the project unfolds like a “film for the ears,” rewarding attentive listeners with a richly detailed narrative and an adventurous sonic palette.
Wilson’s background as an award-winning filmmaker is immediately apparent. The pacing, character development, and sense of drama feel meticulously staged, yet never stiff. Across its eleven songs and interwoven scenes, Until the House Falls moves fluidly between genres like progressive folk rock, vaudeville, and indie pop, echoing the conceptual ambition of Frank Zappa’s Joe’s Garage or The Kinks’ Preservation without sounding derivative.
At the center of the story is Brad Stevens, portrayed with compelling nuance by Aud Andrews, whose rise to prominence after a devastating tornado conceals a darker truth. The supporting cast adds color and momentum, from* Alex Furness’* sharply drawn trophy wife Mary Ann to Tyler Robins’ determined truth-seeker Paul Warren, while Wilson’s score amplifies both the emotional weight and subtle black comedy of the plot. Crucially, the album’s structure allows for two modes of listening: an immersive narrative experience and a standalone collection of songs that hold up on their own. Until the House Falls is an absorbing, daring work that invites and even requires repeat listens.
