KARMATRAIN

One thing that has been learnt the hard way with the 2020 pandemic is the art of patience. Our Mad Mad World was reaching breakneck speed, perhaps even too rapid for our frail over-stressed and hyper-stimulated human minds. Suddenly, the quiet and slow set in. Waiting for mailed shipments was now an act of torture. I personally was forced to adopt the digital option over the postal hardcopy. I was kindly asked by New Zealand band Outside In to review their album Karmatrain , getting the download almost immediately with the assurance that the CD was en route from down under to Canada (as polar opposite as it gets in terms of distance). I am sad to but not surprised to report that the package has not arrived as of this writing. Oh well'.

Outside In is the musical vehicle oh hitherto unknown to me multi-instrumentalist, songwriter and vocalist Mikey Brown, augmented by a tight crew of solid musicians on guitars, bass and drums. The material on this sterling debut is clearly in the more accessible realms of prog, a genre that I welcome when I feel overwhelmed by too much complexity and daredevil soloing. As mentioned by many colleagues, the style is reminiscent at a distance to Porcupine Tree/Steve Wilson or Radiohead, but with a more ear-friendly approach. This does not mean that the music is in anyway predictable or yawn inducing. The best description would be clever, intelligent crossover prog that nurtures the soul and impresses the ears. The vocals are particularly divine, the finely chiseled melodies are also quite breathtaking, each composition anchored in engaging hooks, and emotional lyrical content. Right from the opening salvo on 'Let Me Go', the message is focused and the delivery precise. The attention to detail is evident, the melancholic tone genuine and passionately expressed. Mikey has a voice that shines through (I hear a tinge of another famous New Zealander, Tim Finn) , with enough sonic finesse in the arrangement to beguile the listener, On ''Echoes and Stepping Stones'', the intensity is ratcheted up to lofty heights, nearing bewilderment. The next tune ''Bridges' is in complete contrast, all gentle and pristine, arched by a rolling bass, flicks of guitar, muffled percussion and shuffling drums, while Mikey emotes effusively. Really pleasant stuff indeed. Keeping things always interesting, 'Morning Warning'' is ominous, creeping and intense, with a massive melody, chorus and 'sturm und drang' guitars, thick bass thunder and eager vocals. Really enjoying the flow, as each composition is diverse, originally twisted to please and laden with unexpected charm. Screeching guitars and insistent rhythms introduce ''The Lake', maintaining the momentum until we finally land on the album's masterstroke ''The Garden of Delight', a jewel of a song that encapsulates the style of this band perfectly. Arpeggio guitar, whistling wind, and a steady beat entice the ears, as Mikey sings the living daylight out of the tune, a main melody that is timelessly beautiful as the crescendo kicks in , feeling more like classic Anathema than anything else. Overpowering, exalted and massive, this is just an amazing 5 minute and 22 second performance of musical bliss. 'Mushrooms' is markedly more psychedelic as the title may imply, but very melodic with lots of orchestral d'cor, a slippery guitar solo and Mikey again singing his heart out until the adamant outro scatters on the horizon. 'Ferryman' has nothing to do with Roxy Bryan but rather a quirky sliver of charm, snippy riffs, choppy rhythmic convulsions and that overpowering voice to punch through the current, flow and ebb obvious and inspiring, as the song gentle fades away. 'Pass on the Flag' is a contrast between soft and hard, incisive and dreamy take turns in the spotlight. 'Om' is another fabulous melody, shoved along by a rousing riff, a spacious interlude that sets up another onslaught of power guitar and the masterful vocal. The finale may become the next step in their future career, as 'I am not the One' navigates a different path, a modern arrangement that includes rainy effects , a shimmering platform that weaves a well- thought out route, perhaps a slight Celtic tinge that explodes into occasional peaks of sound and fury, evoking Riverside perhaps or at the very least that style of hard-hitting progressive that likes to challenge the audience into guessing what comes next.

As most pieces are in the 4-6-minute range except for the proggy 8-minute finale, I would recommend a dash more instrumental expansion, maybe a few solos to highlight the arrangement even further. Or maybe a soft and fragile ballad to really underline the magical voice this man possesses. But that is just me and my fantasies talking. A fantastic debut and a potentially new discovery in the making. Whatever you do, Mikey, please continue and progress to higher elevations, if you would be so kind! I can wait patiently for your next one'.

4 Tibetan choo-choos