Tiles - Fly Paper

Year of Release: 2008
Label: InsideOut
Catalog Number: SPV 79672 CD IOMCD 289
Format: CD
Total Time: 52:46:00

Let's get this out of the way at the outset. Tiles sound like Rush. Classic Rush to be sure, as there's a certain 80s-era Rush feel to the whole affair. Even still, it doesn't feel as if they're stuck in some long gone era, but rather as if they've kept pace with Rush. That is, as modern as Rush have made their sound, so have Tiles on their sixth album (not including reissues), Fly Paper. Yes, they have Terry Brown sitting in the producer's chair and that has a lot to do with it. On the other hand, Brown also produced Cutting Crew, who, to my recollection, did not sound like Rush. So, I'd venture to say it's only one part Brown, four parts Tiles.

The presence of bass (Jeff Whittle) is quite integral to the whole sound of the band, as with Rush, more so perhaps than most bands. On the other hand, Chris Herin's guitar style owes a lot to Alex Lifeson, who guests on this album, on "Sacred & Mundane," a scorching rocker that puts fiery guitar right at the forefront. To employ another clich?, this asserts itself right in your face, takes no prisoners, and tells you that Tiles is a force to be reckoned with. It's a highlight track on an album that is filled with more highlights than not.

So, let me also get this out right at the outset, this is the freshest and liveliest that Tiles have sounded since Presents Of Mind. Sure, there was only one studio album in between, Window Dressing, but that was, to me, a lackluster attempt. Maybe it had to do with some internal politics going on within the band, I don't know; that they all felt obligated to "get it out" to meet some sort of commitment. Truly, I don't know; this is all just my speculation. But something I sensed when I saw them live in 2005 made me feel that way. And drummer Pat DeLeon, who appeared on the band's last two albums - PoM and WD, left the band in mid-to-late 2005. Behind the kit now is Mark Evans, the band's original drummer who had been with Tiles for their first two albums, the self-titled debut and Fence The Clear.

Well, lively might be an overstatement when it comes to Paul Rarick, the vocalist. His delivery is often understated, drowsy, though sometimes soaring, too, and falls somewhere in between Geddy Lee and James LaBrie? but not exactly like either.

There are some really fabulous moments on Fly Paper, such as "Markers" which goes from delicate, reflective ballad -- lots of great percussion details to go along with acoustic guitar and lacy electric lines -- to grinding mid-tempo rocker. What comes through here, on this track and the whole album, that didn't on their last outing was a full band dynamic. Maybe I was put off enough I didn't get to deep into the mix, I don't know; but here, the interplay between guitar, drums and bass is so rich. Of course, I did feel on WD that the instrumentation was the highlight; it remains true here. Again, not that I don't like Rarick; I do and more so here than on WD (and as much as on PoM).

The instrumental opening to "Dragons, Dreams and Daring Deeds" also best exemplifies why, like Rush, Tiles isn't just a hard rock band, but a progressive hard rock band, with complex and interesting arrangements. Although not the longest track, it is the one that has the most "sprawling epic" feel. And perhaps the point where they sound the most like late 70s/80s period Rush.

There are a couple of pieces that hark back to an earlier time, and not of ? that certain Canadian trio. That is, there's a Beatles/60s-esque rock style, only heavier, in "Back & Forth." Listen to the vocal harmonies of the chorus and background "ahs," acoustic guitar textures, and groovy rhythm; all these make this a standout track on this album. In fact, it is enlivened by a brighter vocal performance from Rarick. Although it comes as track 3 here, this will likely be a set closer; it just as that warm fuzzy feel without being of the cute warm fuzzies variety. I mean, it rocks, and rocks hard, but those harmonies just give it that companionable feel that comes at the end of set where band and audience have bonded. No, not a cigarette lighter moment, but certainly a sing-a-long moment. A great moment too is the rave up at the end, launched by a cool drum tattoo - a foot tapping, air-drumming, air-guitaring moment.

The other "flashback" is "Crowded Emptiness" which has an open and breezy feel, perhaps because of the lighter feel of acoustic guitars, the lighter percussive touch. This brings about a 70s feel, though I can't exactly pin down a specific reference? I'll just throw out some thoughts - Yes, Kansas, Supertramp, Eagles. All those wrapped into one and something more and that's what is remaining elusive at the moment.

"Landscrape" is an abrasive, muscular, growly and snarly track full of the grinding guitars that have become modus operandi here. And by abrasive, I mean it's rough like sandpaper; like sliding down a rocky outcropping. Oh, but Rarick gets to soaring here so prettily, that it's like a momentary salve on some very raw wounds. By the way, I like this track, so all this positive commentary. You may feel that you've been ripped to shreds when the song ends, but you're grinning.

Closer "Hide & Seek" has a single potential - if this type of music has "single potential" anymore. It's groovy and catchy, while at the same time a ballsy rocker - throaty bass, driving guitar, punchy drums, and nice vocal (and very LaBrie like). It's a beefy ballad, actually, yet not soft and wimpy -- even when we get a pastoral interlude - a swell of keys, acoustic guitar, and whispered vocals. Nope, just listen to the crying guitar solo from Herin that follows backing by a strutting bass line from Whittle. Or the bluesy guitar solo that follows a few moments later; sharp, crisp notes, white hot, that just defy any clever metaphor. Herin's not just playin' it, he's feelin' it, and making you feel it, too. Very cool and an excuse to hit "play" again.

Thematically, the album is "[c]entered along themes of 'human vulnerability'. The lyrics explore how people must continually ward off threats to their well-being (even from within) - and the emotional range experienced co-existing with friends, family and the world at large," according to the press release. Because the promo version does not include lyrics, I can't share my thoughts on their sentiments or point of view -- though I've added the "release version" to my purchase list so you may yet see an addendum to this review. I'll say this however, the lyrics may be about vulnerabilities, but the album itself is rock solid and solid rock.

Flaws? Well, to my ears, the throaty beginning to opening track "Hide In My Shadow" lasts just a cycle or two too long? and I do want to comment here, though it's not a flaw, that the very first notes on "Hide?" make me think of opening riff to John Mellencamp's "Authority Song," before the grinding, throaty guitar phrases kick in. Things do throttle back for Rarick's taunting vocal delivery? though the chorus is pretty gloomy (one line goes "brick by brick I build my tomb"). Another flaw is that perhaps the throaty, grinding feel is a bit overused, not that tracks sound at all alike? but, some might find that it's an overused?feel or effect.

When all is said and done, this is an excellent back-to-form release for this band. The "flaws" are so minor and perhaps so particular to just me (maybe?), that what will be remembered is that this is strong, appealing release that will be a strong contender for, if not the best-of for 2008, certainly as one of the highlights for the year.

[Mar 8: Chris Herin writes: "[...] to set the 'drummer' record straight, Mark Evans also played all the drums on Presents Of Mind. The basic tracks were recorded before Pat joined. Pat ended up only doing some electronic drums and percussion embellishments." Thanks, Chris :-) -ed.]

Tracklisting:
Hide In My Shadow (5:43) / Sacred & Mundane (5:26) / Back & Forth (6:02) / Landscrape (4:32) / Markers (6:57) / Dragons, Dreams & Daring Deeds (8:09) / Crowded Emptiness (4:08) / Hide & Seek (8:31) / Bonus Track: Passing Notes (3:18) (initial pressing only)

Musicians:
Mark Evans - drums, percussion
Chris Herin - guitars, mandolin, keyboards
Paul Rarick - vocals
Jeff Whittle - bass

Guests:

Alex Lifeson - guitar (2)
Sonya Mastick - percussion
Nate Mills - vocals (4)
Kim Mitchell - guitar (6)
Alannah Myles - vocals (3)
Matthew Parmenter - keyboards (5, 8); vocals (7)
Hugh Syme - keyboards (7, 9)

Discography:
Tiles (1994)
Fence The Clear (1997)
Presents Of Mind (1999)
Presence In Europe 1999 (2000)
Tiles - Special Edition (2004)
Fence The Clear - Special Edition (2004)
Presents Of Mind - Special Edition (2004)
Window Dressing (2004)
Fly Paper (2008)

Genre: Progressive Rock

Origin US

Added: March 2nd 2008
Reviewer: Stephanie Sollow
Score:
Artist website: www.tiles-music.com
Hits: 4820
Language: english