Wow, this man can play. And he sure can write the instrumental music of high-end composers. The technical performance capabilities captured in this record are awesome. If you like Yes, ELP, King Crimson and other such legendary Brit art rock pioneers, you will like this record. Throw in Steely Dan, Incubus and Sting, too; A most impressive group of very respectable associations.
Maybe think John Mayer doing prog, sans the clear stance and focus of a sharply styled died-in-the-wool, gentle, sexy singer-songwriter type where songs and distinctive lead vocals rule the presentation. Mayer occasionally throws in superb subtle blues-based guitar savvy, while Michael Lee is not shy to liberally sprinkle sparkly guitar flash throughout his fancy work, and leaves plenty of room for his virtuoso studio drummer to shine.
Mr. Lee’s current lead vocals are more than competent, but for the most part, he does not quite reach the same level as the music. It’s lead vocal magic chemistry like Zeppelin or Tull, and a God-given pipes kind of thing.
Let’s take a word ride through each track:
- “Land of Change”: starts off in a high tech feel jungle, with off-center drums and sparkly smooth echo-riff guitar, which continue throughout. Complex and sophisticated, this highly credible art prog rock pop piece sails with precise punctuation through expansive and azure cosmic skies and space even. Vocals are competent, though could notch up a few to better match the bigness of the music.
- “Trust”: Again, the rhythm section keeps us off balance, grooving nicely somewhere in left field. Fancy breaks continue in the body, as with track-1, plus add a touch of King Crimsony guitar riff bits. Same vocal comment, too.
- “Despite”: The rhythmic art prog guitar cement sets yet more firmly. One thing for sure: these are all highly accomplished musicians sure to impress other musicians. As for the general public, this heady material is likely beyond their reach. Got a Radiohead Zep kinda vibe going through some of this, but that’s not all.
- “Tired”: Appropriately begins with a relatively settled down groove, albeit a less common 3-time count. Best vocal so far, mixed higher up and deserving of its more prominent focus here. A burnt out love song, this is definitely the most mass accessible offering thus far.
- “Mystery of Life”: Brings in the first purely acoustic number. A soft and slow pop guitar/vocal, we may gently sway together in heartfelt questioning wonder, if so inclined. Some of the music strongly resembles Clapton’s “Tears in Heaven”, with a somewhat Elton-esque classical feel here and there, adding historic depth.
- “Youth”: Is as close as it gets in this collection to a straight ahead rocker. It still comes from a technically elevated riff-based place, (as it appears can’t be helped by this crew). Not unlike something Christian rocker Steven Curtis Chapman might do. Some mighty fine guitar work that might be nice to hear more of, and passionately cut loose with even more abandon.
- “In The Picture”: A slow and dreamy sad light pop ballad that ranks with “Tired” as another shot for the masses. Perhaps the most Mayer-esque piece here, though Stevie Wonder comes to mind for the pre-chorus, title and bridge sections.
- “Distant Future”: Whoa – it seems we’re going country! But wait, no, it’s quickly turned back into a straight ahead easygoing light pop tune, again targeting commercial radio. No flash whatsoever here, just a light bounce ballad that softly shuffles. Nice acoustic twangin’ all around.
- “Never Enough Time”: Enters back into riffland, but this time it’s got a far or middle east flavor, owing to the featured scale/mode. Actually, not all that much emphasis on riffing, except as a slightly busy textural background to the vocal. Halfway through, we’ve morphed into a title chant prelude to a highly scale structured rock guitar solo. Then back to the east, and return to rock riffin’. Another fine instrumental showcase.
- “Face Forward” (Instrumental): begins in Bo Diddley fashion and features prominent piano. It nicely weaves a delicate melodic tapestry throughout what is, on this record, a jammish melody over relatively simple repeated chords. A ways in, theatrical guitar enters to build and further develop the melodic variations on the theme. Yani, Mannheim Steamroller and similar ilk, make room for more of your kind.
- “That Day”: A slow waltz love song, with distinct Irish instrumental overtones. Round ’bout midpoint, we briefly go heavy prog again, then return to romantic pop flavor. As everything here, expertly competent, musically sophisticated, and very, very nice.
Review by Mike Ososki
