TILES

With the outstanding production of Terry Brown (Rush) and the visual artistry of Hugh Syme (Rush, Megadeth), Detroit-based progressive rock band Tiles delivers their fourth album, Presents of Mind (1999). While echoes of Rush can be heard throughout the record, Tiles manages to carve out their own identity, creating music that feels both familiar and refreshingly original. The result is an album that retains the sophistication and good taste for progressive music while fully embracing the band's unique sound.

Compared to their earlier works, Tiles (1994) and Fence the Clear (1997), this album marks a significant step forward in maturity. While those earlier records showed promise and experimentation, Presents of Mind demonstrates a band that has refined its craft and embraced a more focused, cohesive approach. The compositions are deliberate, the performances polished, and the emotional weight palpable. The band sounds confident and seasoned, blending intricate arrangements with heartfelt melodies that connect on multiple levels.

For many fans, Window Dressing (2004) is often regarded as the band's best work. While that record deserves its accolades, it's hard not to view Presents of Mind as the stronger album overall. It balances technicality, melody, and emotion with a precision that elevates it above its successors. The maturity and focus evident on this album make it a standout in Tiles' discography, offering a listening experience that is as rewarding as it is enduring.

The album leans into the polished aesthetic of an '80s Rush record, yet avoids imitation, instead offering a fresh take on progressive rock. Tracks like "Patterns" and "Modification" highlight the band's ability to balance complexity with accessibility. The guitar work is precise and atmospheric, weaving through intricate riffs and spacious textures, while the rhythm section adds depth and subtle groove. The vocals, understated compared to the theatrical range of Geddy Lee, add warmth and sincerity that ground the music.

The influence of Terry Brown is unmistakable. His production allows every instrument to shine, capturing the band's technical prowess without losing the human touch. From the layered guitars to the dynamic shifts in time signatures, his meticulous attention to detail ensures the music remains engaging and purposeful. Hugh Syme's artwork, meanwhile, offers a striking visual complement to the music, reflecting the album's thoughtful and adventurous spirit.

One of the album's greatest strengths is how it combines the band's love for intricate, progressive rock structures with a sense of accessibility. The songs challenge the listener without overwhelming them, and even the most complex passages flow naturally. The Rush influence is evident but never overbearing?Tiles takes those familiar elements and transforms them into something distinctly their own.

Presents of Mind is the sound of a band at the height of their powers, blending technical mastery, mature songwriting, and thoughtful production into a seamless whole. It celebrates the progressive rock tradition while firmly establishing Tiles as a creative force with their own voice. While Window Dressing may hold a special place for many fans, Presents of Mind stands as the definitive representation of what Tiles can achieve at their very best.

"...To All My Problems Today"

ALL my problems.

As a person in recovery from a host of spiritual, emotional, and physical addictions and ailments, I have learned to survive and thrive via the spiritual path I have undertaken.

Basic Tenets

-Gratitude -Acceptance -Serenity is inversely proportional to the level of my expectations -Forgiveness

This Matters How?

Rarely have I been as captivated, as entranced by a musical work as I have been by TILES' epic, masterful album "Pretending 2 Run" (P2R).

The themes, the scope, the lyrics, the music, the conceptual basis, the corresponding musical community built upon it, the musical breadth and variety, the execution...

In brief, a masterpiece. And one that for me highlights the reasons the basic tenets of this spiritual path of recovery is vital- for me, and perhaps for others too.

TILES

In case you don't know, TILES is at heart a Detroit, Michigan, USA-based quartet, making progressive music for 28 years now. It's true that vocalist Paul Rarick retired in 2018 from his active role in TILES; yet I get the impression he may still be involved at some level(s) in helping make music happen.

With only a few minor changes, this quartet has survived and thrived against some formidable odds, staying true to their vision of creating worthy, high quality progressive music- and in case you didn't know- a) it's really tough to keep a band intact and thriving for decades, and b) I have a real soft spot for bands who do.

I'm a retired musician too, and heck, it was tough keeping bands together months, much less years- egos, day jobs, practice spots, family, efforts no matter how feeble to have a life...

TILES hasn't been prolific, not that this matters in the least to me, and P2R was in the works for years.

True, 2016

I usually focus on the latest releases I can get my hands on- it's my passion and also the focus of my Facebook page Progressive Rock Fanatics, as well as my Wordpress site of the same name.

But this one grabs me, and frankly I had the same "problem" as TILES' members had as people who have more than music to contend with, who must work for a living.

Ninety-six minutes in a double CD release? I likely will check out a few tracks, which is what I did in 2016.

2020

Upon wishing Facebook friend Chris Herin (TILES' multi-guitarist/string instrument/trumpet/keyboards/ composer/arranger) happy birthday, I decided to give P2R a hearing. All the way through.

And again.

Began reading about Girolamo Savonarola (because of some references made to his writing), "The Little Prince" by Antoine de Saint-Exupéry (frequent and vital snippets spoken throughout by a French foreign exchange student), reviewed Psalm 51 (the great penitential psalm written by a tormented author seeking healing and redemption)- listened again for instrumentation and contributions by guest musicians like Mike Portnoy and son Max, Ian Anderson, Colin Edwards, Adam Holzman, to name a few...

And Again

Made notes. Themes: Betrayal. Loss. Grief and its stages. Healing. Redemption. The Music: Ranging from classical to folksy to hard rock to complex progressive rock and metal, utilizing a host of instrumentation and musicians, plus an amazing amount of lovely vocal work rivaling what I've heard from the Beach Boys all the way to Moon Safari... The Lyrics: which to my ears provide JUST the right amount of clarity and ambiguity- I know that probably sounds absurd, but I like room for my own interpretations.

The Premise(s)

The protagonist (TILES say it's a male, but it could just as well be female or any other) is cut to the core by the beloved. Judging from the lyrics it's set within a domestic situation, some kind of betrayal.

This betrayal of trust (infidelity? Loss of feelings? Abandonment?) triggers within the protagonist an agony of bewilderment, paranoia, woundedness, heartbreak- all of which many humans can probably identify with.

Mostly alone, the protagonist struggles to find balance and healing and reason. Inch by painful inch (s)he battles rage, depression, emotional vertigo, hopelessness to tiny glimpses of light, tiny moments of considering his or her or their part in the betrayal.

The Art

Hugh Symes, designer and creator of voluminous album art for many musicians and bands, shows a turtle set upon an escalator, at the top of which is a little girl who appears to be beside herself with anger.

Along with this cover art within an enclosed booklet with the CD's are numerous other images, equally striking and suggestive of these themes.

For me, the juxtaposition of the descendant of these most-ancient reptiles, alongside the contemporary lazy-machine device of the escalator, overseen by the 'innocent' child, speaks to the album's core themes and concepts: betrayal. Redemption. What matters and what doesn't.

This Matters How?

Again, this IS a music album, so why Steve are you straying so deeply into all this other terrain?

Because to me, P2R is a masterpiece that comprises so much more than only notes on paper, or exquisite musical chops.

It's the whole musical/lyrical/conceptual scope that flummoxes me, captivates me, entrances me.

It has all of that- the musical virtuosity, the diversity, the complexity, moments of raw power and also intimate loveliness.

And it has so much more. In "The Little Prince" Saint-Exupéry says "One sees clearly only with the heart. What is essential is invisible to the eye."

What is Essential?

-Gratitude -Acceptance -Serenity is inversely proportional to the level of my expectations -Forgiveness

In this meticulously plotted and executed songcycle, the protagonist goes it alone, and nearly dies of it.

I am grateful for the reminder of how important music and art and TILES are for me and perhaps for all of us to realize what IS essential.

In My Estimation

TILES has presented us with an essential masterpiece of progressive rock music, titled "Pretending 2 Run".

The influence from the 70's hard rock circuit for Tiles is palpable, especially on their first album. These influences aren't limited to Rush- the symphonics the band uses are very reminiscent of Styx, even vocalist Paul Rarick sounds uncannily like Dennis DeYoung. It's not unwelcome to me but I will say if you have a distaste for Styx's sound, perhaps this may not suit you. The progressiveness of Tiles comes in the same package as much of the heavy prog bands on the site, loud and proud arena rock spectacles with rich lyrical content in every word spoken. Chris Heren doubles as keyboardist and guitarist; with the latter he's a bit secluded at times especially when it comes to solos. Solos on Tiles' debut aren't limited to a solo per-say, more along the lines of instrumental breaks. Mark Evans channels Neil Peart with his powerful drum-work, and guest bassist Kevin Chown is great even though he is sometimes obscured by the music.

Really a good lesser-known gem of the 90's rock circuit. I recommend it.

After eight years of a break time, hibernation, preparation, or whatever you might imagine, there is still a rather heavy rock fundament to state as usual. The quartet have invited a lot of guests on diverse instruments and for some additional vocal support. TILES' approach to develop unusual, tricky and slightly crazy compositions, should be appreciated at all costs. I mean, they even could be booked for a funeral with good will. No problem, somebody will be accompanied to his last Refugium by use of a somewhat dark mooded anthem.

CD 1 marks the album's highlight in its entirety. Wow, this stuff is something special, not lurking around every corner, so to speak. Starting with the title track we are moving along a string of pearls right here. Exemplarily representing my personal impressions let me emphasize the lovely violin passages on Stonewall. With Drops Of Rain the band supplies a very enchanting and catchy composition. Furthermore you'll be always Taken By Surprise when they are rrrrrocking the house with much power and finesse.

Considering that CD 2 is consisting of several fillers, it probably would have been more comfortable to compress the production. A minor issue though, this will not depreciate the other high quality material in any way. Midwinter at least resides as a very very fine exemplar, especially Ian Anderson rules with his flute. Issued on the wellknown label The Laser's Edge this also reminds me of the current Zip Tang album somehow as for the basic attitude. Hey, taken by surprise, Detroit is not far away from Chicago! Eh, does that matter? Anyway, my verdict, this one deserves to be part of a well-sorted prog rock collection.

Until recently, I was never a great fan of Tiles. I gave their well regarded Presents of Mind a try and found it underwhelming. Nevertheless, when I first saw the Hugh Syme cover of this album, I was intrigued enough to give them another chance. My more favorable reaction led me to listen to Pretending 2 Run online, and my first coherent thought after preordering the album was, "What a BEAST!" Since its arrival, I have been listening to it ever since, almost daily, sometimes one disc or the other, but lately from start to finish without interruption. A huge leap forward compared to Presents of Mind, Pretending 2 Run has elevated my opinion of the band substantially.

Initial impressions: This album abounds in color, and that blaze of glory is what first appealed to me. Oboe, saxophone, strings, a variety of percussion instruments, choirs, church bells, banjo...the wealth of timbres is staggering, and it is all applied with great care. Paul Rarick sounds so good on this album, and he employs his own color palette with the same great care. The other musicians acquit themselves marvelously and play with great passion. I particularly enjoyed the burbling basslines. The lyrics are poetic, sometimes cryptic, with an occasional line of great beauty and many wonderful metaphors. Hugh Syme's artwork complements the album very well, and the cover itself encapsulates the album brilliantly, especially if you think about how an escalator works. Given the explosive subject matter (betrayal!), the overall aesthetic is surprisingly cool and cerebral, and this, more than anything, has had me taking notes, scratching my head, reading lyrics, and looking up quotes to figure out exactly what is going on. Pretending 2 Run is not quite what it appears to be.

On the surface, Pretending 2 Run is a story of a betrayal and its aftermath, and the band serves as the emotional storyteller while the vocalist adds context and reflection, perhaps unconscious and conscious mind, respectively. The structure of the album is anything but simple, and this complexity suggests to me that the album is about much more than a simple betrayal. Having more the feel of a bildungsroman than a simple story and the approach of a classical song cycle than a rock album, Pretending 2 Run leads us through the main character's experiences, a series of revelations about his past, present, and future that lead him to a sense of acceptance. Each revelation seems hard-won and is fraught with philosophical reflections. With quotes from Latin, Savonarolo and "Le Petit Prince," the "story" is very high-concept and serves as an exploration of the psychological and emotional toll of being flawed amidst other flawed beings. As tedious as all that may sound, the album is actually very engaging and enjoyable.

Structure plays an important role in this album, which takes the shape of a reflected sine wave, with each CD mirroring the other but going in different directions. Throughout, expect to hear cross-references and whisps of previously heard motifs, little memories that flit two and fro as our main character sorts through the mess he's found himself in. Compositionally, interesting things happen, such as the bass player taking over the melody as an ostinato pattern over which other instruments play something new, or a melodic line on CD1 being played backwards on CD2. Lyrically, words and images recur to heighten the cyclical nature of the main character's struggle and our musical experience.

CD1 starts at zero with "Pretending 2 Run," which begins with odds noises and a marching drum and sets the stage for the album by presenting the main character's problem. Slowly we move down into darkness and work our way to "Stonewall," one of my favorite tracks, which is a series of emotional scenes in response to a lack of answers from the betrayer. When Rarick sings "stonewall," the song has a very dreamy quality to it, as if the main character cannot comprehend why his pleadings are not properly answered. The band says what the main character cannot, and the music becomes very angry. Eventually, the character is ready to hear the truth, and the instrumental Voir Dire (yes, you have to look that up) sets us up for the character's first major revelation and the bottom of the wave, "Drops of Rain," which contains some unsettling static sections that, upon repetition, become increasingly ornamented with background vocals. Now we hurtle back toward home with "Taken By Surprise," which contains a number of unexpected references to pop music and literature and suggests that there is a "riddle in the rhyme". "Refugium" is a fetal position in music, an unexpected choral number that ends with church bells. "Small Fire Burning" begins in manner like the first track but ends with a whimper, slowing to zero. You can stop here and feel satisfied with this album. However, Tiles is not done. What follows is a surreal mirroring and upending of what came before.

With CD2, we start at zero ago with "Midwinter," which begins virtually identically to the first track of CD1 but quickly veers into very different, more uplifting territory. Here is where Ian Anderson regales us with some engaging flute music. "Weightless" is a very strong song with some interesting lyrics, hints of some lessons learned, and a bright jazzy saxophone solo. "Battle Weary" is the companion to "Stonewall," in which the melody for the word "stonewall" is played backwards as the melody for "battle weary". (What does this MEAN?) Afterwards follows "Meditatio," the choral companion of "Refugium". After some very surreal sounds in "Other Arrangements," we reach the next round of major revelations via "The Disappearing Floor" and "Fait Accompi," the "happy" ending we expect at the peak of the wave, complete with light and airy string accompaniment. This is not sustainable, however, and the next 10+ minutes serve as an exploded companion of "Taken by Surprise," now a series of independent tidbits, complete with a recapitulation of major motifs in the instrumental "Uneasy Truce" and two modified reprises of "Pretending 2 Run". These thrust us quickly back toward home again, and, by the album's end, "Backsliding," we find our main character in a strange state. There was redemption of sorts, but it wasn't clean and tidy. The album's closing moments submerge us into something surreal and dark with accompanying drum. If we put CD1 back on, we find ourselves returning to where we began, or someplace similar, and the wave is complete.

Pretending 2 Run is a puzzle in music, and I find myself returning to it again and again because I've lived through something like this. I like and appreciate the concept. However, if you don't care about that, you will nevertheless find some engaging music, enjoyable jams, and thought-provoking lyrics. It hangs together best as an album, but a few songs hold up quite well on their own, e.g. Stonewall, Drops of Rain, Taken by Surprise, Weightless, and Fait Accompli.

It warrants one star more than what you'd rate Presents of Mind. For me, Pretending 2 Run ranks somewhere between a 4 and 5. The high-concept nature of the album is a bit off-putting at times, and it sometimes feels unnecessarily long. Nevertheless, I can't stop listening to it, and I wake up with its melodies in my head. I keep fretting over what it all means. The structure fascinates me. I give it a 4.5 and round down, at present, to 4 stars.

Stylistically not much has changed, the band secured a raw, guitar-based Progressive Rock with complex plays and sharp riffs throughout, but the compositions now sound more mature, consistent and inspiring.''Fence the clear'' is a fine example of lyrical Prog Rock in the vein of RUSH, which doesn't lack some very good melodies and a certain technical depth.The music sounds a bit raw due to the absence of any keyboard support, but at the same time it's also a pretty polished attempt, as the guys had found a good balance between heavy riffs, furious rhythms, unexpected and surprising moves and instant melodies, throwing in a few lighter parts between the Power Rock, RUSH-inspired textures.The solos are very good, the groovy themes are extremely enjoyable and Paul Rarick's singing is expressive and clean.Propably the Rock equivalent to Prog Metal legends QUEENSRYCHE, they shared the same taste for technical accomplishment, epic lyricism and dynamic, guitar-led fests.On the other hand I find the length of the album to be quite extended for such a style, sometimes less is more, as not all tracks are trully great.But you can't help but listening over and over to one of the greatest anthems of guitar Prog, ''Another's hand'', an orgasm of sudden twists and turns, frenetic rhythms, jazzy drumming and high-pitched singing, perfect track.

From dedicated fans of Rush for dedicated fans of Rush.This is passionate Heavy/Power Rock with complex ideas, some great jazzy pinches and epic-styled, convincing vocals.Strongly recommended...3.5 stars.

The music is extremely melodic, and even crunchy when they require it, and the production of Terry Brown (Rush, IQ, Fates Warning etc) has given the music an extra polish. It may not be pure progressive in the normal sense, but it has taken a hefty chunk of that genre and placed it with melodic rock to create an album that is very accessible on first listen yet also contains depths to enjoy and investigate. Yet another strong album from the Detroit based band.

Originally appeared in Feedback #79, June 2004