CROWN LANDS

Crown Lands is a duo that heavily inspires from Rush and Led Zeppelin with a more "comtemporany" approach. The Vocals are a mix of Geddy Lee, Robert Plant, Roger Hogdson and Ozzy (mentioned by my wife haha), but despite the influences they do sound good. It reminds me a bit of Gretta Van Fleet, but the components in Fearless are more ambitious, offer much more substancy and are more remarkable. The instrumentation in itself is also more original and it does sound really skilled. The production is fantastic, having a cristal clear sound without going retro. Also, the guitar tones and synths are great with lots of textures and colors, showing great taste from Kevin.

Favourite tracks are the both the epic Fearless tracks, The Shadow - such beautiful melancholic track, the single Lady of the Lake and Penny - a lovely acoustic guitar instrumental piece which is mesmerizing. IMO, as mentioned by Mellotron Storm, it's a really fun and easy album to listen. 4.5/5 stars

CROWN LANDS are opening for KISS in their final cross Canada tour and how appropriate that they have this duo to end their final journey across our land. Gene will be having flashbacks to the 70's when RUSH opened for them. These guys are storytellers and RUSH and LED ZEPPELIN certainly influenced them in that regard but also John Prine and Paul Simon. Instrumentally add YES and PINK FLOYD all huge influences on their sound. This particular album has more of a RUSH sound than their earlier ones and that's on purpose bringing in Terry Brown to make sure that would happen. I actually think more of LED ZEPPELIN on their earlier releases.

This is a band that advocates LGBTQ+ and Indigenous communities rights and Cody learned at the feet of the elders at Alderville a First Nation Reserve. Man these two can play like it's nobody's business. Kevin says that when they get enough money they will add a drummer so Cody can do what he dreams of and that's being the singer only in the Freddy Mercury tradition while Kevin wants to focus on the keyboards so they would bring in a guitarist. The band themselves say the blood of RUSH runs deep in Fearless's veins swirled with flavours of YES and PINK FLOYD. The anti-colonial theme is present in this album but done through a sci-fi story.

The biggest difference between this album and the previous EP "White Buffalo" is that Cody's vocals are noticeably higher pitched maybe to get that Geddy sound down from the 70's. And how dividing were Geddy's 70's vocals? So the same here to a point I would say. it's the only thing keeping me from giving this 5 stars yet I appreciate them in this context. The record opens with the epic 18 minute "Starlifter Fearless Pt.II" and electronics greet our ears first and we get a lot more keyboards on this record compared to their past. Those are blown up quickly by a heavy sound. Check out those vocals before 6 minutes! Great sound before 8 minutes as it changes and is all instrumental here. Powerful all instrumental sound after 13 minutes before it turns spacey before 16 minutes.

"Dreamer Of The Dawn" is so uplifting and uptempo with the vocals dominating over top. "The Shadow" has a nice heavy sound to it with punchy drums. "Right Way Back" is so high energy including the vocals. "Context: Fearless Pt.I" opens with a galore of atmosphere before that gets stomped on. They change things up a bit here including some narration. Oh and the bass after 5 minutes is another nice touch. "Reflections" opens with spacey atmosphere but it kicks in after a minute sounding like RUSH including those vocals. "Penny" is a song Kevin wrote for his Grandmother who had passed. He was at her bedside and went home and composed this moving acoustic guitar piece. The final two songs are awesome. I've touched on the closer but "Lady Lake" might be my favourite track on here. Mid paced and heavy.

I had a lot of fun with this last week.

In an interview Kevin said that when he's playing music by himself he's usually playing the synths doing TANGERINE DREAM type stuff while Cody on his own creates some cool stuff with the flute. Then he said they get together to jam and try to figure out how to merge RUSH with PINK FLOYD. By the way their four biggest influences are RUSH, YES, LED ZEPPELIN and PINK FLOYD. David Bottrill(TOOL, RUSH etc.) produced and mixed this album which happens to be a just under 28 minute EP. The vocals of Cody Bowles are high pitched and an acquired taste for some, kind of like Geddy in the 70's. I saw him at a LED ZEPPELIN tribute concert with a bunch of other Canadian musicians playing "Stairway To Heaven" and Cody was the lead vocalist and he commanded the stage and sounded so confident. He was awesome and Alex Lifeson did that closing solo.

The title track for the EP "White Buffalo" is a rallying cry for Indigenous people showing their strength and unity. That opening instrumental "Inner Light" reminds me of LED ZEPPELIN with the acoustic guitar and drums to start. Great sound when this kicks in after a minute and the guitar and drumming really impress. check it out after 3 minutes. "The Witching Hour" reveals that Kevin is a shredder especially when the vocals step aside after 2 1/2 minutes. Oh my!

That one was a bit of a ride but not as long as the closer "The Oracle" at over 13 minutes. A mellow start including the vocals but man when it kicks in after 2 minutes those vocals just cry out. This is good. A nice heavy sound. Some wordless vocals after 3 minutes. A calm then it turns even heavier, lots of bottom end here as the vocals come ripping in. Check out the bass pedals after 4 1/2 minutes then it kicks in again. Love this stuff. Vocals are interesting after 5 minutes. Reminds me of TOOL a lot after 6 minutes, even the whispered vocals and check out that guitar solo before 8 minutes. It all ends with waves and seagulls.

What a ride! Yes an easy 4 star EP for me and a nice appetizer for "Fearless" that I've been now listening to. By the way this took many spins before I connected with it.

The opening track, Starlifter: Fearless Pt. 2, immediately reveals the band's influences. I was actually thinking of Queen II with synthesizers instead of piano until the vocals came in. That's when the band totally sounded like classic Rush. Covering 2112 to Signals, the first stretch of this track is a textbook example of Rush's classic years. However, the segment closes with a short bit of First Nations woodwind, which I thought was a great touch and something the band could use more.

After this, I felt the music was very similar to Vancouver-based Spell but with vocals like the Ontario metal band, Skullfist. That didn't last long as the Rush influence returned. In fact, my impression was that the track sits either smack in the middle of classic Rush or strays closer to Spell with some temporary deviations that sound like neither. It's a superbly done track, but I'd like to hear less Rush and more individuality.

Dreamer of the Dawn is largely still Rush-influenced but the chorus sounds again more like Spell with Zach Slaughter of Skullfist on vocals. It is a catchy chorus if you like that modern retro eighties metal sound. (I went back for a second listen and the chorus is now stuck in my head!)

The Shadow finally sees the band keeping distance from Rush (mostly) and resembling the Spell/Skullfist sound. As I like both bands, especially Spell, I can get into this.

By the time we reach Right Way Back, I'm reminded of several eighties bands and modern retro bands, but prominently to pop to mind is vocalist Randy Jackson of Zebra. By now, the band is showing more diversity and my interest is growing.

Context: Fearless Pt. 1 keeps us back in camp Rush. They sure are doing a good job of it though. Listen to that bass! And the lyrics, 'If life is a wheel / Please, let it spin,' has that Neil Peart enthusiasm and optimism for life.

Reflections continues the Rush vibe, which I am enjoying for the excellent execution; however, I'd really like to hear more of a unique band rather than so much hero worship.

Penny is a pleasant surprise. It's a beautiful acoustic guitar piece that stands apart from everything else on the album so far. This is followed by Lady of the Lake, which is not like Rush at all. I'm actually reminded of Jake E. Lee's band, Badlands with those high Zach Slaughter (Skullfist in case you need reminding) eighties metal vocals. This song is a welcome diversion from all the Rush Love that has dominated much of the album so far. And that woodwind makes a return near the end. This could be my favourite track so far.

That brings us to the closing track of the album, Citadel, which opens with some lovely piano. We're off to a great start here with another track that sounds nothing like Rush. And this is what I wanted to hear more of. Fine that the opening epic wears a Rush heart on its chest. But if the rest of the album was more like the last three tracks, I'd be looking for change in vending machines and behind couch cushions just to be able to order this expensive CD.

Had this been released as an album in 1982-3, I think Starlifter: Fearless Pt. 2 and Penny could have been on one side, and Context: Fearless Pt. 2 along with Lady of the Lake and Citadel could have comprised the other side (perhaps the other way around). Dreamer of the Dawn would have been an infectious single and a bonus track for cassette and later for CD. That selection would showcase the band's range of abilities. Perhaps the reminder of the tracks would have made an EP to be included on future CD reissues.

As it is, I'm curious now to hear what else Crown Lands has done. I'd welcome hearing more Crown Lands just with less classic Rush.

1. "Starlifter: Fearless Pt. II" (18:00) Rush 2112, sprinkled with a little Triumph, Thin Lizzy, Nazareth, Ozzie, and even Carlos Nakai. Despite the band's acknowledgement of having grown up feeding off of 15-second sound bites, they have done quite an admirable job of holding onto the motifs of their 18-minute suite for more suitable lengths--which is much more in line with what we Baby Boomers are used to and looking for. Also, they've done quite a remarkable job of stringing them together rather seamlessly while somehow making each and every theme interesting and enjoyable. And, despite its obvious imitation of Rush, the music is all very fresh and original sounding. A top three song. (32/35)

2. "Dreamer of the Dawn" (4:03) a song that sounds a bit like GUNS 'N' ROSES with some RUSH basics, but as Cody's vocals and drumming go on I'm feeling that we're experiencing a new, though retro-oriented, sound. (8.875/10)

3. "The Shadow" (3:44) a song that effortlessly conjures up ancient masters of the classic Hard Rock/Heavy Metal genre including KISS, TRIUMPH, DEF LEPPARD, and, of course, THE SCORPIONS' "Rock You Like a Hurricane." (8.75/10)

4. "Right Way Back" (3:51) Cody's heavily-effected voice in the verses makes this obvious RUSH song different--more LED ZEPPELIN/ROBERT PLANT-like--but then his laid back approach in the chorus sections makes me think so much of the seemingly-effortless genius and maturity of a young PETRI WALLI of 1990s Finnish psychedelic rockers, Kingston Wall, as well as, somehow, PRINCE. WE may be listening to two individuals for whom music is as essential to their being--to their every breath--as the aforementioned talents (both of whom I believe were conduits of the flow of a force from a source far greater than any corporeal human). (8.875/10)

5. "Context: Fearless Pt. I" (7:49) I like the chance for Kevin to to showcase his bass and guitar skills on this one, otherwise, I'm not sure how this song serves to "set up" the context of who Fearless is and what s/he stands for. Great RUSH-like timing. (13.33333/15)

6. "Reflections" (5:43) a bit of a stylistic departure from the Rush scene on this one--at least, insofar as the vocals and verses; the choruses are all Rush. (8.66667/10)

7. "Penny" (3:43) solo acoustic guitar! And an instrumental! Impressive (and ballsy--because it's so old-school)! And then to build a whole radio-play length out of it. (8.66667/10)

8. "Lady of the Lake" (5:06) more acoustic guitar but this one you know is leading up to a full-on rock anthem. RUSH and LED ZEPPELIN playing together (not sure who's singing: Geddy or Robert). Great classic construct, chords, playing style, and bluesy singing. Wow! Does this bring one back to the 1970s! Reminds one of how amazing music and sound was back then. Great song--rated up for amazing nostalgia effect. A top three song, to be sure. (9.5/10)

9. "Citadel" (5:52) plaintive piano play opens this song--reminding me of the genius that was Freddie Mercury when Cody enters to sing. This is not a Geddy Lee vocal, no sir, it's one that could compare with the greatest of the greats: Robert Plant, Steve Perry, Klaus Meine (The Scorpions), and, of course, Ozzie. A masterful imitation of a classic rock ballad. My other top three song. (9.75/10)

Total Time 57:51

Kevin and Cody are definitely among the greatest masters of "old style" rock 'n' roll music I've ever heard: talents that will not go unheard!

A-/five stars; a minor masterpiece of progressively-blended classic hard rock music--on a skill level that you rarely see achieved in the 21st Century. Highly recommended to any old-school prog rock lover.

I don't get to write much prose anymore. Indulge me on that last bit.

Anyway, some people screamed "Ripoff!" whilst others yelled "Awesome!", and my initial reaction was basically both. Initially, anyhow. It sure as heck felt like Rush to me, and rather good Rush homage at that. But why would I bother? I already own the three albums listed above and have listened to them incessantly for decades. Do I really need a Rush tribute band in my life when I can listen to the real deal?

And that's what gets us to today and our review. Fearless, Crown Lands second studio album, dropped in late March 2023 to heightened interest and expectation among many. I can certainly attest to my own, anyhow. In the interim between my discovery of the band and this album's release, I inhaled much of the band's earlier work via the usual streaming channels, enjoying what I heard from the Canadian duo.

And a Rush tribute band was not what I heard.

Featuring Cody Bowels on vocals and drums, and Kevin Comeau on guitars, bass, and keyboards, Crown Lands delivers hard rock/epic prog wonderment while bringing attention to topics like colonization, exploitation, human rights violations, and issues affecting Indigenous Peoples (worldwide but especially in their native Canada).

Bowles, a Two-Spirit Mi'kmaq, brings his personal perspective in regards to Indigenous and gender issues to the fore, whereas Comeau, a Jewish descendant of Holocaust survivors, understands the all-too familiar history of ethnic oppression and genocide. Together they deliver their stories to the table with impressive vocal and musical skills, creating epic music that sounds infinitely larger and more complex than "just" two individuals working together.

But all that being said, is Fearless worthwhile? Do Crown Lands take their influences from and love of the work of Lee, Lifeson, and Peart, and infuse them with their own unique perspective, creating something new and fascinating in the process? Or do they just go for straight homage and tribute without straying too far from the lines? And is the end result any good?

Read on?

Crown Lands wastes no time by opening the album with "Starlifter: Fearless Pt. II", which spends the next 18 minutes and 23 seconds ensconcing the listener in that classic Rush sound. There's no mistaking it: this is pure homage right out the 2112, A Farewell To Kings, and Hemispheres. The song is even broken down into 9 segments, each telling the next chapter of the Fearless story.

Speaking of the story, the song focuses on 'Fearless', a cosmic entity of some sort that has returned from somewhere to the material realm, finding countless destroyed worlds ravaged by war. Including their own.

Greed, emanating from interstellar tyrants in the depths of space known as 'The Syndicate', has consumed the hearts of men. Distraught, Fearless stows away on a 'Starlifter', one of many ships in a fleet of powerful intergalactic spacecraft. They in turn discovers an AI prisoner, with whom they merge their mind into a singular being. Together they pose a threat to the Syndicate and their "stellar engine", and the battle wages on as this new 'Machine Messiah' makes a desperate maneuver by veering into the heart of a Black Hole.

Or something. As mentioned in the introduction, the story ties into the themes of colonization, commercial exploitation, and oppression driven by avaricious oligarchs. But as a song, it's a fine amalgamation of Rush tracks like 2112, Cygnus X-1 (parts 1 and 2), A Farewell To Kings, even a quick nod to The Trees. Any Rush fan can probably point each last one of these out, and more.

The thing is, if you're going to do this kind of homage, the only way to really make something interesting out of it is when 1) you find the heart and feel of what makes the original source material work, 2) you seamlessly integrate them into your own ideas, compositions, and musical sensibilities, and 3) you have the skill and chops to ensure your scope matches your vision (or at least comes damn close).

So does Crown Lands pull it off with this track? I'd say so. "Starlifter: Fearless Part II" is an ambitious piece and the band succeeds at making something fascinating with it. The homage elements are overt, and there's no denying them, but once you get past the "Oh yeah, this is the Rush sound we all love!" novelty, there's a fun song here. If I had to complain, I'd say that Bowles's vocals get a bit too high and shrill at times, and that the song doesn't end quite as engagingly as it opens. Other than that though, I was all-in throughout. Bring on Part III, shall we?

Our next stop is "Dreamer of the Dawn", a more Rush-influenced but less Rush-homage track. If "Starlifter" was mid/late 70s epic Rush, "Dreamer of the Dawn" takes its musical cues from the Permanent Waves to Signals 1980-1982 era. With its exaltations of spiritual liberation, the song proudly displays its catchy hooks and pop melodies alongside the heavier rock elements.

"The Shadow" opens with a very Sabbath-sounding riff before settling into a solid 80s hard rock vibe. Maybe more Triumph than Rush, if we're going to invoke Canadian power trios. But we won't. Anymore. This is a solid rock track about overcoming fear, harnessing darkness and uncertainty as power. In a lighter and more energized mode, "Right Way Back" is great fun, a slinky and up-tempo number with hints of new wave and power pop. Here the themes of loss and recapitulation dominate, a yearning for something (or someone) vanished into the cosmos.

"Context: Fearless Part I" provides the prologue after the story has already started, which is about as Rushy as you can get. But I'll let this pass since the band originally released Part I as an EP in 2021. At six minutes in length, "Context" is nowhere near as epic in scope and composition as its predecessor?er, I mean, its successor. Whichever.

This prequel gives us a bit of (wait for it) context of Fearless's backstory. In their old world (was it Mars?), they achieved a kind of enlightened state of some sort, and departed their home planet for? elsewhere. Seeking further enlightenment from the wonders of the cosmos, or perhaps some journey wholly inward. Either way, Fearless departs through a City in a dying world, invoking the Wheel of existence continuously throughout (the Wheel imagery also made its way into Part II).

Comeau is doing some incredible work with atmospherics on this track: it really evokes a sense of backdrop and environment the way Lee/Lifeson could achieve so (seemingly) effortlessly together. In many ways, this track feels more Rush sounding while also less overt about it. As such, "Context" is an album standout. Sure it's Power Windows era Rush (and I love that record), but as a singular piece replete with melodic proggy hooks, it feels playfully inventive and cohesive.

"Reflections" hits immediately with Xanadu right on its sleeve, and then a smidge of Entre Nous on the chorus, but this is another up-tempo (if subdued) rocker. The song shifts time signatures and delivers dreamy cosmic soundscapes to deliver another charming track in the Rush vein. Bur then, I'm also starting to wonder if the entirety of the record is going to stay in this lane or continue pushing past that ethos like they did with "The Shadow" and "Right Way Back".

Fear not, fair readers. Next we have "Penny", a stunning yet gentle bit of folksy acoustic fingerpicking from Comeau. This pastoral instrumental piece provides a tonal change of pace for the album by allowing Comeau to flex his instrumental prowess in sweet and straightforward folk melodies. The result is utterly disarming and, shall we say, refreshing?

"Lady of The Lake" pulls out all sorts of Arthuriana, as the milieu shifts elsewhere. Is this the Britannia that never was, or a future era of conflict between the forces of darkness and light? Something like that. Either way, Crown Lands has clearly dialed up the Zeppelin here. The song exudes darker elements: the acoustic 12-string opening bridges us from the sweet, pastoral "Penny" to the impending doom and warfare found here.

The song takes its cues from "Battle of Evermore", perhaps a bit too on the nose, but before we can accuse "Lady of the Lake" of becoming too pastiche, the midsection break shifts into a bit of Pink Floyd vibe. And if nothing else, their command of Page's "light and shade" is on great display. Bowles utilizes his higher register at its most effective on the entire album.

The album closes with "Citadel", and a mournful piano intro beckons us inside its gates. The titular fortress is where the Forces of Good will enact a final stand against invading demons. Sacred ways must be protected, freedom must be preserved. Meanwhile, this is probably the least Rush sounding non-instrumental track on the album, which in my opinion makes for a stronger closer. Sure, I suppose you could point out a bit of Queen throughout the song, but even then that's just one of multiple influences on display. "Citadel" is a slow and muscular number, peppered with twin guitar leads, pounding drums of war, and a driving piano spine that elevate the song into high dramatic relief while also providing a powerful closer to the album.

So yes, Fearless wears its Rush homage high up on its vest. Four of the nine tracks dominate in this regard, with "Starlifter: Fearless Pt. II" over 18 minutes in length on its own. And while that track almost verges into completely overt tribute territory, the others retain a character that is less defined by the music of the past, and more derived from them.

So to that end, Fearless remains a captivating sonic adventure, paying homage to Rush with various degrees of overt intensity. Crown Lands assuredly picked up and ran with the classic Rush baton, but they also skillfully wove other influences into their contemporary tone and vison. The result is an engaging album that acknowledges its roots while delivering a diverse and extremely satisfying experience.

One that doesn't stray too far from Cygnus X-1, but satisfying nonetheless.