MÔR

It would come as a surprise I imagine, for even most 'well-educated' music lovers, to discover that a vast quantity of exceptional music is created nowadays via the internet with no more technology than a laptop and an audio interface. With the widespread industry embrace of digital audio recording from the early 80s, musicians no longer required access to the ponderous (and expensive) process of multi-track, reel to reel tape recording to produce albums. Steady developments in both hardware, software and internet capacity over the past four decades have provided musicians with the luxury of collaborating globally from the comfort of their home studios.

The Wisdom of Simple Things (TWoST), the debut album by MÔR, is a shining example of what can be achieved with today's technology. All told, 13 musicians, none of whom ever set foot in a conventional studio with each other, contributed to this album. The core of the unit includes Peter Rand (composition, keyboards, guitars) and Chris Matthews (composition, guitars, mixing/production), both of whom reside in the U.K. and Ramlee Oak (lyrics, vocals, drums and bass), an Australian who lives in Japan. The 10 guest musicians (Nick DeNardo, David Stahl, Brian Henry, Jim Bryan, Alex Fadista, Alberto Alberti, Moe Howard, Ralph Tonge, Matthew Heindorff, and Milt Barney) all contributed their parts from other locations - chiefly Europe and North America.

Across 11 gorgeous tracks, TWoST explores the complex world of relationships. Ramlee writes "I am absolutely convinced that if we were more mindful of our relationships, if we really put them front and centre, a lot of the misery we create for ourselves and others would be avoided." Few albums breach the 40 minute mark; even fewer the 50. TWoST weighs in at just under 55 minutes; not only a generous offering but one that provides enough material to really understand what this band is about and what they're capable of. Conceptually, the album covers a lot of ground. You won't find any repetitive padding in Ramlee Oak's lyrics. He has a lot to say and it's never banal.

The album begins with the enigmatic 'Night Light' - the world seen through the eyes of a sea turtle. To Peter's haunting piano phrase, David Stahl and Jim Bryan add an intoxicating liquid pulse. Strings surge like ocean swells as Ramlee begins with "Along an ancient coastline, into a sheltered bay..." It's a stunning, dramatic lyrical journey with references to Hemingway and Paul Gauguin, both of whom had long associations with the sea. Finally, Alex Fadista weaves in his choppy rhythm guitar parts and outro solo to complete a thoroughly satisfying album opener.

Track 2., the title track, explores our relationship with truth and the history of intellectual persecution. Chris Matthews' captivating Acoustic Guitar and Ramlee's Bass paint a lovely, pastoral canvas as Ramlee sings "Twas almost inconceivable we'd ever conquer flight, We used the think the Earth was flat, the Sun our satellite". He finishes with an optimistic quote from Shakespeare, "Hope is swift and flies with swallow's wings".

'Room for Another' fires a salvo at organized religion. Over Peter's sparkling guitar arpeggio, Ramlee begins with, "The faithful form a line in soto voce wait their turn". Nick De Nardo (drums) and Ramlee create a lilting rhythm part that dances the song towards the more straight-ahead and vigorous pre-chorus and chorus sections. A powerful and thought-provoking piece.

'Circles' reveals Ramlee's deep reverence for the life-giving forces of our pale blue dot. Over Chris's Acoustic Guitar, he plays a slit drum figure throughout the song reminiscent of Bruford's slit drum parts on Sheltering Sky. Moe Howard adds Cajon and Hammond and Milt Barney plays Soprano Sax parts that bring the whole song together with class and sophistication. Fave lyric, "By decree, oceans are lifted up to float across the sky, to finally flow back into the sea"; truly inspired.

'Out of Place' rails against the mindless pursuit of wealth and materialism. It's a high-tempo rocker driven by Peter's piano and Ramlee's persistent rimshot figure. Matthew Heindorff (of Myriad) infuses several layers of clever Electric Guitar and Chris adds a beautiful and unexpected clean guitar solo towards the end. Ramlee finishes with, "No more daisies for the iPhone babies, the connection's lost".

'Rivers' shows what Peter, Chris and Ramlee can do as a core unit. Peter creates a stunning melodic foundation with Keyboards and Guitar to which Ramlee adds both a programmed trap drum groove and a mind-altering sub-bass part. Towards the end of the central instrumental section, Chris offers a melting, delayed guitar solo that takes the whole piece to a truly rarified level of beauty. Fave lyric, "Doubt not your power to change, unto yourself, yourself deliver." Magic!

'Interior Man' puts Chris's production and mixing genius on full display. Brian Henry (drums) joins the crew here and, along with Ramlee's bass, delivers a tight, pulsing rock groove that relentlessly drives this strange psycho-drama. Some of Ramlee's most powerful vocals here. Fave lyric, "I'd bet on mould before I ever back bacteria, We walk a razor between rational and mass hysteria".

'The Fortunate Ones' is arguably the most touching and poignant track on the album. Chris and Ramlee create nothing short of a masterclass in minialism here assisted only by cello and oboe. Fave lyric, "The child reaching out her hand, inviting me to play, Instead I let the troubles of the world get in the way". Superb!

'First Here' is an art rock nonpareil. Nick De Nardo (drums) and Ramlee are reunited as rhythm section for this celebration of the microscopic. Peter's Keyboard and Guitar work here are breathtaking, creating melodic and harmonic textures that shimmer with brilliance. Some fabulous rhythm guitar parts and a cracking solo by Italian guitarist Alberto Alberti set this one ablaze. Ramlee's vocals are rich and powerful as he pays homage to Earth's oldest inhabitants. Fave lyric, "Covert, yet results, devastating, sans violence or bloodshed". Can this dude write or what!?

Every album should have a centerpiece and for me, it's track 10., 'Hymn to the Ordinary'. The longest track on the album sees the 'Night Light' ensemble in full flight. This is the band at it's heaviest and, if there was any doubt that MÔR can deliver humongous symphonic Prog rock, this song puts that doubt to bed. From the initial suspended string note, the song employs a crescendo form that gathers steam and intensity, building up to a magnificent Guitar solo by Alex Fadista. David Stahl and Jim Bryan deliver an outstanding rhythm section performance. Ramlee conveys his personal journey to fatherhood and his profound love for his daughter skillfully, honestly and intensely. His vocals soar above the raging sea of music. Every father should read these lyrics. Truly uplifting.

MÔR chose to end the album on a wistful note with 'Downstream'. Chris and Ramlee once again prove that less is more, utilizing only Acoustic Guitar, Recorder and voice to create a gem. Lyrically, the song invites us to question our certainty, our hubris. Fave lyric, "They say that every human heart is usually broken twice, So 'third time lucky' hardly sounds like good advice, Could be true, a broken thing repaired is never good as new".

It's almost impossible to believe that this album was created by musicians who've never met each other and communicate by text messages. The depth, cohesion and ambition of the album is self-evident. Peter and Chris are both stupendous composers and the album is a solid and satisfying musical journey that maintains the listener's interest from the first note to the last. Ramlee Oak's lyrics are worth reading even without music - they're so finely crafted and insightful that they deserve to stand alone artistically. When combined with the music here, something extraordinary happens.

I gave this album 4 stars only because I can imagine what this album could potentially have been had they found themselves in a world-class studio with ample time to fully develop their ideas face to face. Having said that, this is a very, very fine album that, I'm quietly confident, will garner well-deserved respect in the future.