Artist: Benjamin Dean Wilson: Writer, composer, producer, arranger and director; Cast: Aud Andrews as Brad Stevens; Alex Furness as Mary Ann Stevens; Dana Kluczyk as Isabel Chase; Sam Eisenbaum as Mike; Tyler Robins as Paul Warren; and Stephen Elberg as Narrator

Album: ‘Until the House Falls;’ Release: November 22, 2025

Unabashed musical chameleon and award-winning creative mischief-maker Benjamin Dean Wilson is returning with his most ambitious album to date, the progressive indie folk rock projec, ‘Until the House Falls.’ The four-part musical radio play unfolds like a film for the ears. Entirely written, composed, produced, arranged, and directed by Wilson himself, the independently released opus is a sprawling, multi-genre mosaic that feels as theatrical as it is cinematic, just without a single frame of film.

Wilson, originally from Tulsa, Oklahoma and now based in Fort Lauderdale, Florida, is no stranger to ambitious storytelling. As the creative force behind the award-winning films ‘Nuts! The Musical’ and ‘Ivan and Craig,’ he has long demonstrated a flair for fusing humor, satire and pathos.

With ‘Until the House Falls,’ he channels that cinematic sensibility into a classic audio drama. By doing so, he draws inevitable comparisons to ‘Joe’s Garage’ by Frank Zappa and ‘Preservation Act 1’ by The Kinks, two rock operas that value daring narrative over radio convention.

The story centers on Brad Stevens (Aud Andrews), whose family home is devastated by a tornado. From the wreckage, Brad rises to prominence in his hometown. But beneath his newfound success lurks a secret. Determined to expose it is Paul Warren (Tyler Robins), a young man unwilling to accept Brad’s polished public persona at face value.

The supporting cast adds delicious dramatic tension: Mary Ann Stevens (Alex Furness), the trophy wife navigating expectation and image; Isabel Chase (Dana Kluczyk), the ambitious employee with ulterior motives; Mike the personal trainer (Sam Eisenbaum); and a guiding Narrator (Stephen Elberg). Stylistically, the production nods to Italian Commedia dell’arte and the gleeful excess of early exploitation cinema from directors like John Waters and Russ Meyer, who value both satire and sincerity.

Musically, Wilson pulls from progressive folk rock, vaudeville, indie, quirky rock, and alternative influences. There are odd time signatures, brassy flourishes, waltzes, polkas, folk passages and muscular classic rock riffs. The instrumentals are all stitched together with clever, character-driven lyrics. It’s a frenzied but coherent tapestry that recalls the narrative wit of Randy Newman, the theatrical eccentricity of Tom Waits and the melodic adventurousness of Genesis.

The digital release is cleverly structured. The first four songs present the complete radio play in four acts, blending dialogue and song into a seamless theatrical experience. The following eleven tracks are isolated in a way that allows them to thrive independently.

The record’s fifth tune, ‘Tornado!,’ is an early standout, as it thrives on its brass-forward and vocally boisterous elements. It balances playful melodic energy with cinematic storm effects. The effects are both foreboding and exhilarating, especially in its ode to classic rock. The guitar work is sharp and commanding, and the vocal performances are filled with charisma.

The album’s ninth entry, ‘Busy Day,’ pivots into satirical domestic drama. Beginning with a piano-led daydream, the song’s boldness explodes as Brad proclaims, “I am the most important man in town,” oblivious to the emotional labor simmering at home. It’s a pop-oriented yet layered tune that examines relationship dynamics with wit and bite.

The LP’s twelfth entry, “Home in the South,” is a piano-and-strings-driven ballad that feels almost hymnal, as it offers a plea for return and reconnection. Its follow-up, ‘Confrontation,’ is driven by playful combativeness, its theatrical sparring echoing the story’s moral showdown.

Wilson has said the project was inspired by sheltering from a real tornado in his closet. That experience that sparked him to write the first track the very next evening. That immediacy carries through the production.

‘Until the House Falls’ isn’t just about weathering a physical storm; it’s also about reinvention, image-making, ego and the fragile structures – literal and metaphorical – that people build around themselves.

At its core, the record argues that humanity longs for inspiration and elation that’s created by genuine storytelling. Wilson delivers exactly that through the characters’ feelings of devastation and absurdity, darkness and joy, theatrical bombast and intimate confession. The result is a consistently riveting, charismatic display of character-driven songwriting and dynamic arrangement.

In an era dominated by singles and algorithms, ‘Until the House Falls’ demands commitment. It asks listeners to sit with its 15 tracks, absorb its narrative arcs and revel in its eccentricities. For those listeners willing to take the journey, Wilson proves to be a truly unique storyteller. He creates songs with melody and mischief, only to let them fall in the most spectacular fashion.

For more information on Wilson, official website, as well as his Spotify, Bandcamp and YouTube pages.