A CELL TO CALL HOME

A Salt Lake City-based band releasing its third studio album since it's punky 2012 debut, Immured (and fifth including their 2017 and 2021 EPs).

1. "Water" (5:03) the music here reminds me of Devin Townsend, even the vocals, but only if Devy toned down his growls, sang in a higher range, and if his walls-of-sound guitars. I'm a little turned off (as usual) by the plastic sound of the drum heads being hit, but, overall, this is a pretty cool song--containing some surprising and likable youthful optimism and "cheer." Nice opener. A top three song. (9/10)

2. "Snow Child" (1:10) some gorgeous GEORGE WINSTON-like solo electric piano. I'd give this "top three" credit were it a full song. (5/5)

3. "How Did It Get So Good?" (7:14) acoustic guitar picked, Mellotron strings-supported EAGLES-like fabric over which singer Rylee McDonald sings in his smooth JD SOUTHER-like voice. At 1:35 the music flowers into an early-STYX like soundscape. This is really excellent (the plastic drum heads sounding better mixed into the heavy music). The instrumental passage that begins at the three-minute mark sound like a Black Sabbath version of a THIN LIZZY motif all performed and engineered with a bit of what I call "the 21st Century video game influence." (like Jem Godfrey's Experiments in Mass Appeal FROST* album). Impressive guitar solo from Randy McStine (Porcupine Tree) at the end of the fifth minute. Interesting shift into an unexpected and unusual final motif with about 90 seconds left. (13.25/15)

4. "Rain on Open Water" (4:43) a "heavy" classic rock pop song with a very pop-oriented vocal over the top (not unlike the feel of a FREDDE GREDDDE or WIPPY BONSTACK or even DEVIN TOWNSEND-lite song). (8.75/10) 5. "Your Flaws" (3:49) nubile-sounding female vocalist over acoustic guitars. Kristen McDonald has a very likable, engaging voice. Turns full rock after a couple of verses. Rylee enters to make it a duet with Kristen. (8.666667/10)

6. "Truth" (5:54) with Rylee in the lead and Kristen as harmony vocalist, this one sounds like something from PURE REASON REVOLUTION's heavier (and, for me, disappointing) sophomore album, Amor Vincit Omnia. (8.66667/10)

7. "Calling It Off" (5:46) I like the heavier, more melodic chord sequences and soundscapes of the two (very different) motifs that open this song: the first heavy and instrumental, the second more spacious with Rylee's voice singing over the top. I really like Rylee's background vocals here, as well. Though the chorus doesn't quite live up to the promise of the opening and brief heavy bridge between the first two verses, there is definitely something very special in this song construct. (I wonder if it has a different compositional team than the previous four songs.) Nice synth work from Jordan Rudess in the instrumental passage in the fifth minute. The finish reminds me quite a little of STEVEN WILSON's solo work. Definitely a top three song for me. (9.125/10)

8. "Control" (5:34) bass and Fender Rhodes behind Rylee's vocal in the opening motif. During the second verse the music hits some bombastic JOURNEY/FOREIGNER-like points with Rylee's vocal trying to channel some Steve Perry. Very nice multi-voice vocal arrangement in the fourth minute. Then we move into a heavy, plodding sequence over which Hayden Payne gives us a very FOREIGNER-like sax solo. The music dissipates and decays after this, allowing an accordion-like wind instrument to take us out. (8.875/10)

9. "Maybe" (3:48) jazzy electric guitar chord strikes, each with a different chord (almost in a Roddy Frame/AZTEC CAMERA-like way). When Rylee starts singing he sounds a lot like OWL lead singer Adam Young--until the crescendo in the second chorus, when he goes metal. There follows gently picked acoustic guitar arpeggi with pedal steel chords and heavily-effected piano single note playing. Gorgeous finish! Interesting and refreshingly creative song. My final top three song. (8.875/10)

10. "Cell to Call Home" (10:15) opens very much like a Jem Godfrey/John Mitchell FROST* prog song, but then goes soft gentle Indie pop for the first verse of singing. The second verse adds a heavier prog sound, giving it very much a STEVEN WILSON sound and feel. The PinkFloyd/"Time Flies" guitar strum at the four-minute mark opens the door for an amazing guitar solo--one that goes on until the six-minute mark. (The burning question is: Who was that on the lead guitar?) Innocuous vocal section returns and then seems to end at 8:40--but, psych! It's only a pregnant pause as the band comes bursting forth a few seconds later to take us to the end. (17.5/20)

11. "Hold Me" (6:19) a rather sedate song showing both Americana/Southern Rock influences (Jared Leach/GHOST MEDICINE-like) as well as, later, the BEACH BOYS--and containing some great electric guitar soloing (in the fourth minute). The vocal performance has some very heart-wrenching qualities to it. I've even tried to glean its meaning/significance from its lyrics: to no avail. I don't get it--but I want to know. (8.875/10)

Total Time 59:35

An collection of excellent songs that all seem to do a remarkable (if unintentional) job of bridging the best of the 1970s radio-friendly classic rock and the upbeat/positive feelings of many indie-pop artists of the 1990s and 2000s. A lot of prog lovers may be turned off by the cheery optimistic feel of this album's music, but I always like this kind of youthful hope and enthusiasm.

Though Rylee & company's music has always had a wonderful eclecticism to it, their sound and compositional acumen has matured tremendously--and definitely moved well into the realm of "progressive rock." Rylee seems to have less to prove vocally and the band's music has passed through its punky-grunge phases into more sophisticated Prog Metal compositions often feeling more akin to Devin Townsend and Steven Wilson.

B+/4.5 stars; a near-masterpiece of eclectic prog music reflecting a wonderfully refreshing youthful perspective while somehow being grounded in sounds that are very familiar to all of us; an album I recommend whole-heartedly to any and all prog lovers.