Tiles Reviews: Presents Of Mind
Publicaiton: Aardschock
Country Of Origin: The Netherlands
Review Date: March 1999
Reviewer: Liselotte Hegt
Traslation: Al Grabenstein
In his last interview with Aardschok, guitarist Chris Herin predicted that the new, third CD would sound a little heavier, here and there somewhat straighter, with a
human-nature-like and thematic character. In this regard, Presents Of Mind does not disappoint and is even a little groovier than I had expected it to be. Just listen to the
opener Static which is built upon a very appropriately chosen melodic line. The production is as wide as a room and Terry Brown (Rush, Fates Warning) again handled the mixing.
Besides, in Pat DeLeon the band has found an excellent drummer. Presents Of Mind also offers consistent quality and reinforces the appeal of Tiles, namely a unique sound. The
sensitive voice of Paul Rarick stands out, the guitar playing is full of character and, moreover, the playful themes of the mandolin are very original. The song Facing Failure
and the instrumentals Crossing Swords, Ballad Of The Sacred Cows and the lighthearted dance titled The Sandtrap Jig are leftovers from the previous album
Fence The Clear, but fit in seemlessly with the new, somewhat more compact material. Then again, Safe Procedures is such a nicely worked-out jam number, chock-full of musical
craftsmanship. The final title, Reasonable Doubt shines because of its passionate vocals and sad violin arrangements. A complete home run. Yep, we have again a multifaceted
progressive rock album in our hands!
94/100
Publication: Rock Hard
Country Of Origin: Germany
Review Date: March 1999
Reviewer: Frank Trojan
Traslation: Al Grabenstein
This American group is becoming slowly, but surely an established institution in the prog genre. The band is maintaining its chosen style unwaveringly and is practicing
"Frickel-Metal" rock at the highest level. Pure hardcore prog. In contrast to their previous albums, Presents Of Mind places greater emphasis on intricate arrangements and
abstract melody sequences, and is moving in the direction of Magellan, Shadow Gallery or Enchant. Thus, Static is an opener with a super melody in the best tradition of
Threshold, Reasonable Doubt a melancholy semi-ballad with strings, and Taking Control is a fresh reminder of the more commercial songs of Rush. The potential that is in this
group is unbelievable. However, Tiles so far do not manage to sustain a consistently high level of play. Thus, besides much that is positive in this disk, there are also some
things that are less favorable. Therefore, the Yanks will probably again not succeed in hitting a home run.
7.5/10
Publication: Break Out
Country Of Origin: Germany
Review Date: April 1999
Reviewer: Sven Reinfrank
Traslation: Al Grabenstein
Every Rush fan will have waited for a long time for this third disk of the exceptional band Tiles, myself of course included without any if, and, or but. Indeed, Tiles are
probably the only band on this planet that comes close to the music professors of Rush. And you are left quite literally speechless once you let Presents Of Mind flow through
the sound system. A limitless variety of songs, polished poly-rhythmic beats (Modification, Facing Failure, Taking Control) as well as outstanding timing, combine to form a
oneness without equal. Actually, I could have named every single song (rather than the three titles above) as examples - this just for your information. (Note by the reviewer:
I would have cut this review by half anyway, so it wouldn't be too long.) Especially the three (!) instrumental pieces are full of musical "raciness." The guys know what they
want, and above all they know how to draw the listener under their spell (Crossing Swords, Ballad Of The Sacred Cows, The Sandtrap Jig). For once, I permit
myself to claim that Tiles are the only ones capable of being considered the heirs of Rush, provided that, with "Different Stages," Rush have truly created their own memorial
[i.e., nothing more is likely to be released by Rush]. The spirit of Rush will never die! (Note of the reviewer: The remaining four titles are called Static, The Learning
Curve, Safe Procedures, and Reasonable Doubt. Just for the sake of completeness.)
Publicaiton: Metal Hammer
Country Of Origin: Germany
Review Date: April 1999
Reviewer: Christof Leim
Traslation: Al Grabenstein
The four gentlemen from Detroit can play and place great emphasis on interesting arrangements. This is called prog rock and, to be sure, prog rock of the calmer kind in the
style of Enchant or Soul Cages. Tiles are rather nondramatic; instead of excessive bombast, there is a slightly mystical atmosphere and lots of acoustic guitars, even violins
and banjos. The second line of influence is based on solid hard rock riffs, although this is not a headbanger album. Rather, the emphasis here is on atmosphere and harmonies.
Of course, there is a lot in this album, the songs include a mass of details, yet at times lack a certain tension. In certain areas, what is intended to sound absolutely
progressive and classy comes across as Dream Theater scale exercises, however, this does not happen very often. Overall, "Presents ..." holds appeal through beautiful melodies
and interesting parts more in the tradition of classical prog rockers than as hard "artful-metal-flitting fingers."
Publication: IO Pages
Country Of Origin: The Netherlands
Review Date: April 1999
Reviewer: Erik Neuteboom
The American quartet Tiles hails from Detroit. That is a stone's throw from the Canadian Province of Ontario. From this short distance the choice of a Rush-like sound is easily
made, then. And indeed, the influence of Rush (Power Windows period) is everywhere. The band even used producer Terry Brown (who, besides Rush, is also known for his work for
IQ and Fates Warning) and designer Hugh Syme (Rush, Queensryche, and Megadeth) for the cover. After the debut album of the same name tiles released in '94, and the follow-up
Fence The Clear in 1997 (both well received in Aardschok), and after listening to the third CD Presents Of Mind, one can conclude that Tiles, just like Rush, has developed from a
hard rock trio to a group with a progressive sound: more vocal harmonies, more keyboards and greater integration of acoustic instruments (mandolin, acoustic guitar and violin).
Accordingly, Tiles sounds compact and smooth; the very dynamic drummer Pat DeLeon and guitarist Chris Herin excel especially in the instrumental pieces (and especially so in
Ballad Of The Sacred Cows and Safe Procedures). Original is something else. There is only sporadic use of keyboards, nevertheless, Tiles know how to keep my attention
(especially in the second, somewhat more original part of the CD).
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Summer 1999
Reviewer: James Bickers
In a remarkably short amount of time, the Detroit band Tiles has sculpted a uniquely identifiable sound, first evidenced on their last album, the wonderful Fence The Clear. On
Presents Of Mind, their third disc, Tiles brings us further refinement in their magical blend of prog sensibility and hard-rock energy.
The voice of Tiles is the remarkable Paul Rarick, a clear-toned, powerful singer with a strangely refined phrasing
style: When hearing him sing, one imagines Rarick standing perfectly still, eyes closed and body calm. In this way he
commands the listener's attention - oozing confidence, his lines clean, crisp and very emotional. He is a singular
talent.
Guitarist and chief songwriter Chris Herin, drummer Pat DeLeon, and bassist Jeff Whittle are as tight as tight can be.
Again, the qualities of confidence and maturity spring to mind when defining Tiles' delivery.
This is a band that has endured constant Rush comparisons. Yes, the Rush influence is clearly evident. But perhaps
it's time for those comparisons to stop, because Tiles is a band that has come into its own - and a band that deserves
your attention.
Publication: The Glass Eye
Country Of Origin: USA
Review Date: Summer 1999
Reviewer: Mark Tinta
Good to see Detroit's Tiles making the relative big time, getting a deal with Magna Carta, America's top prog label. I recall being a bit harsh on their last album, the
independently released Fence The Clear (1997), and I said something along the lines of the band being well on their way to better things, which Presents Of Mind more than capably
demonstrates.
The opening track, Static, deserves to be blaring on every radio station in the country. There's a very strong Rush influence on it, particularly a guitar lick in the very
beginning that's an obvious homage to The Spirit Of Radio. On Modification, Tiles has a strong Promised Land-era Queensryche vibe going on, and the instrumental
Crossing Swords is straight out of the King Crimson handbook. But on these songs, despite the frequent raiding of influences, Tiles manage to create their own sound,
which one can hear clearly upon repeat listenings. Sure, singer Paul Rarick still sounds a lot like Dream Theater's James LaBrie, but so what?
The growth this band has shown since their last album is nothing short of astonishing (that jam on Safe Procedures!). Of course, I say this only because guitarist Chris Herin
kicked my ass at a Fates Warning show for my negative comments about Fence The Clear. No, seriously, Presents Of Mind is one of the strongest releases of late, and I honestly
can't imagine any self-respecting fan of modern progressive rock not getting into it.
3.5 out of 4
Publication: Striktly For Konissuers
Country Of Origin: USA
Review Date: June 21, 1999
Reviewer: Brent Jones
Tiles' third album is another excellent thinking person's album. Chris Herin's lyrics are top notch and he may be just
about the best in the business now at dealing with life in the modern corporate and personal world. Every song has an
interesting lyric and I'd place Herin in with any of the great writers like Fish or Neil Peart.
Musically the band still shows some Rush influence but is starting to branch out - especially by using more acoustic
guitars, mandolin, and banjo. They are still a hard rock band - and show little of the 90's "can't really play
influence." They might be compared favorably with the prog-metal bands, but Tiles doesn't go over the top in the
playing - preferring to let the songs speak for themselves. Taking Control has one of the best riffs I've ever heard
and the songs will certainly be one of my favorites for years to come. Reasonable Doubt is the epic track on the album
and features violin playing from Matthew Parmenter of Discipline and a lyric that criticizes capital punishment.
Not much more to say other than Presents Of Mind is an excellent hard rock album with thought provoking lyrics. It's hard
to believe that this is a part time venture for the guys in the band. By the way, this one should be out this week in
the US with bonus tracks and has already been released in Europe and Japan.
Publication: Scream Magazine
Country Of Origin: Norway
Review Date: Issue #46, April/May 1999
Reviewer: A.J. Blisten
It's a sheer pleasure listening to this album. The music is that good - plain and simple. The songs are advanced, but
not too complicated and are focused on good melody throughout the album. The vocals are brilliant - as always. The
final track on the cd shows new musical ideas I hope we'll hear more of in the future from this great progrock
band.
5 out of 6
Publcation: Metal Invader
Country Of Origin: Greece
Review Date: March 1999
Reviewer: Sakis Fragos
Translation: Mrs. Dimetriades and Nick Kyriazes
For sure, the more fanatical of you should remember the preview that I gave for the then upcoming third work of Tiles. I said that it is going to make many people have
consecutive heart attacks - me the undersigned having the first one. There are many people who don't know this astonishing group that has already released its eponymous debut and
the fantastic Fence The Clear one and a half years ago.
So, let me tell you that these four men from Detroit have created a candidate for all-time classic CD. Presents Of Mind is a disc where just looking at the cover predisposes you
for an all around masterpiece. It shows a floating brain with a bow wrapped around it and the back shows a brain inside a shipping box. The images depict a play on the
different meanings of 'presents' and 'presence' (more details in the interview).
But let's go now to the music. I heard somebody accuse Tiles of copying Rush. I will not agree or disagree but simply state that Rush has not made a better record since
Grace Under Pressure than Presents Of Mind! Only Counterparts comes close. Though Tiles leans on a strong Canadian inheritance - even having a strong synthetic
link in Terry Brown who did the mixing - they have created a disc that will even be loved by people who only have a slight connection with progressive music.
However, Presents Of Mind is a disc that stands a step higher than the previous one. The voice of Paul Rarick is an ideal combination of James LaBrie (listen to the enticing
interpretation of Static that starts the disc), Geddy Lee, and even Geoff Tate and the bass playing is excellent. The biggest strength of the group is they control themselves to
create not simple pieces with a beginning, middle, and end; but pieces that have memorable refrains that stick to your brain easily. I recommend you pay close attention to
Reasonable Doubt, one of the best songs I have ever heard - and Static. But don't misunderstand me, all the songs are excellent!
My verbosity must come to an end. I warn everyone who buys this CD to be aware that it is going to be very hard to take it out of your CD player. The same thing happened to me.
Since I previously gave Fence The Clear a 5 of 6, I must proportionately give Presents Of Mind a 6 out 6!
Publication: Through Different Eyes
Reviewers: Harry Kuipers and Greger Rönnqvist
Review One (Harry Kuipers):
This is the 3rd CD of the US-progmetallers Tiles. After their self-titeled debut CD and Fence The Clear, Presents Of Mind is released. Our American friends are inspirated by
Rush and you can hear that. Especially in the slower parts and the rhythm guitar parts. The difference between Tiles and Rush is that Tiles is heavier. So, for those who think
that Rush is too soft, this is the CD I highly recommend you. But don't compare with e.g. Symphony X. Tiles is not that heavy. The CD contains 10 songs. It is real progressive
metal with great bass-parts, a very good singer with a voice that fits very good in this music, nice songs (very innovate, they show me that they are good and technical talented
players) and a good production. What does a progmetal-freak want more?!
Rating: at least 9,5 points out of 10. It depends of my mood. The most striking tracks: Ballad Of The Sacred Cows (instrumental) and Taking Control.
Review Two (Greger Rönnqvist):
This is the third album from the four-piece US band Tiles, and it's almost as good as the previous album Fence The Clear from 1997. Still you can hear the reminiscences to
Queensryche and Rush although they aren't that obvious any longer. Perhaps you could compare this album though with Queensryche's "Promised Land" and "Hear In The Now Frontier".
The music is intricate progressive metal with good melodies and arrangements.
The singer is really good and the guitarist is a real maestro. The highlights are the opener Static, The Learning Curve, Ballad Of The Sacred Cows, Taking Control, Safe
Procedures and the last track Reasonable Doubt that contains violin played by Discipline's Matthew Parmenter. As said in the press info "the lyrics focus on how the human mind
adapts to the many different and changing situations life presents".
The cover artwork that is displaying the music very well is made by Hugh Syme, known for his work with Aerosmith, Arena, Fates Warning, Bon Jovi, Kiss, Megadeth, Queensryche,
Rush and Whitesnake among others. I recommend you to buy this CD immediately.
Website: ProgressiveWorld.NET
Review Date: January 2000
Reviewer: Stephanie Sollow
How aptly titled this album is, as it was included in a Christmas gift to myself (how kind of me). But, more than that, these thoughtful compositions are little gifts in
themselves - ones with which you should reward yourself with all due haste.
But, how did I come to that conclusion? You see, it started this way. I had heard quite a bit about Tiles, read the reviews and interviews, and the comparison that keeps getting
bandied about is Rush - but at first, I didn't hear much of Rush at all (but for a bit here and there). So, the holiday season was upon me, and since I seem to be an avid
collector of Magna Carta releases, and because I had read that press, I put this on that gifts-to-self list...unsure of what exactly I was going to hear. As you can tell by the
opening paragraph, I was presently surprised.
Tiles are an American progressive band who bear some similarity to Dream Theater, if Dream Theater were more progressive rock than progressive metal - say Dream Theater in their
lower-key moments. Vocalist Paul Rarick sounds a bit like James LaBrie when LaBrie is both on his game and not reaching for impossible vocal heights. That isn't meant to be a dig
at LaBrie, but merely pointing out that Rarick isn't a "soaring" vocalist. But, not so much like LaBrie that he sounds like a clone, mind you - it's actually more the quality of
his voice rather than the use.
If you like prog bands such as Spock's Beard or Discipline for example, then you will like Tiles. Echolyn also comes to mind, so I suspect that we can throw in Echolyn offshoots
Still and Finneus Gauge into that mix as well. Tristan Park also comes to mind, when Chuck Dyac was singing lead.
Speaking of Discipline, frontman Matthew Parmenter guests on violin on the beautiful Reasonable Doubt.
Drummer Pat DeLeon adds backing vocals. His and Rarick's voice blend nicely, creating nice, smooth harmonies. Although they both have voices in the same range, they are just
enough different to give a nice blending of tones.
Where the Rush comparison comes to the fore is the bass work Jeff Whittle, whose tone is fat and warm not unlike Geddy Lee's. The instrumental Ballad Of The Sacred Cows is
at times like Rush, at times like Dream Theater and is perhaps the best example of the two influences. DeLeon's percussion is very much like Portnoy's, Whittle's bass Lee-like,
and guitarist Chris Herin brings in something different - the Tiles portion of the troika. Well, that is until chaos comes into play - where Herin tears up the fretboard -
shreds, really - sometimes sounding like an acidic violin.
The brief instrumental The Sandtrap Jig is like a calm oasis in a wind driven desert, so in contrast to the rest of the album, and yet it fits.
There are so many wonderful moments on this disk, it's tough to pick out a few to highlight. Modifications is one, The Learning Curve (which features a very nice guitar solo just
before the end, short but impressive), but it is Taking Control, the most Rush like track here, that is the song that will sell you on Tiles; the moment when it all clicks into
place. Not because it is Rush-like, but because this is the song that proves the bands chops, that proves that, for example, DeLeon is a dynamic drummer using a great deal of his
kit, not just the kick drum to bash out a repetitive rhythm.
And while progressive rock isn't about memorable choruses, it is this very thing that Tiles also excels at, because it draws you in to the song, into the lyrics, and thus to the
point of it all. This is no more apparent than on the closer Reasonable Doubt. I say Rarick's vocal style doesn't include soaring, but that's not entirely true - as here it does,
not reaching for those impossible heights, but it soars like a bird on the wing, in that epic, emotional way. Simply beautiful. If Taking Control sells you, this will make you
take them home with you (figuratively speaking, of course).
Two live tracks close out the album - Patterns and Token Pledge - and while the production is a bit muddy, I have now put their two previous disks on the gifts-to-self list (for
which I don't need a holiday).
And so this review comes full circle - for all that it doesn't sound like Rush, the best comparison that can be made is to Rush - thoughtful, intelligent lyrical observations
supported by a dynamic and driving beat. We should expect no less from any band we listen to - progressive rock or otherwise. This is simply great stuff and they are deserving of
all the praise they are getting. Had I heard this a few months earlier, it surely would have made my Top 10 list.
And for the bad play on words for the month: you should have the presence of mind to pick up Presents Of Mind.
Publicaiton: Aardschock
Country Of Origin: The Netherlands
Review Date: March 1999
Reviewer: Liselotte Hegt
Traslation: Al Grabenstein
In his last interview with Aardschok, guitarist Chris Herin predicted that the new, third CD would sound a little heavier, here and there somewhat straighter, with a human-nature-like and thematic character. In this regard, Presents Of Mind does not disappoint and is even a little groovier than I had expected it to be. Just listen to the opener Static which is built upon a very appropriately chosen melodic line. The production is as wide as a room and Terry Brown (Rush, Fates Warning) again handled the mixing. Besides, in Pat DeLeon the band has found an excellent drummer. Presents Of Mind also offers consistent quality and reinforces the appeal of Tiles, namely a unique sound. The sensitive voice of Paul Rarick stands out, the guitar playing is full of character and, moreover, the playful themes of the mandolin are very original. The song Facing Failure and the instrumentals Crossing Swords, Ballad Of The Sacred Cows and the lighthearted dance titled The Sandtrap Jig are leftovers from the previous album Fence The Clear, but fit in seemlessly with the new, somewhat more compact material. Then again, Safe Procedures is such a nicely worked-out jam number, chock-full of musical craftsmanship. The final title, Reasonable Doubt shines because of its passionate vocals and sad violin arrangements. A complete home run. Yep, we have again a multifaceted progressive rock album in our hands!
94/100
Publication: Rock Hard
Country Of Origin: Germany
Review Date: March 1999
Reviewer: Frank Trojan
Traslation: Al Grabenstein
This American group is becoming slowly, but surely an established institution in the prog genre. The band is maintaining its chosen style unwaveringly and is practicing "Frickel-Metal" rock at the highest level. Pure hardcore prog. In contrast to their previous albums, Presents Of Mind places greater emphasis on intricate arrangements and abstract melody sequences, and is moving in the direction of Magellan, Shadow Gallery or Enchant. Thus, Static is an opener with a super melody in the best tradition of Threshold, Reasonable Doubt a melancholy semi-ballad with strings, and Taking Control is a fresh reminder of the more commercial songs of Rush. The potential that is in this group is unbelievable. However, Tiles so far do not manage to sustain a consistently high level of play. Thus, besides much that is positive in this disk, there are also some things that are less favorable. Therefore, the Yanks will probably again not succeed in hitting a home run.
7.5/10
Publication: Break Out
Country Of Origin: Germany
Review Date: April 1999
Reviewer: Sven Reinfrank
Traslation: Al Grabenstein
Every Rush fan will have waited for a long time for this third disk of the exceptional band Tiles, myself of course included without any if, and, or but. Indeed, Tiles are probably the only band on this planet that comes close to the music professors of Rush. And you are left quite literally speechless once you let Presents Of Mind flow through the sound system. A limitless variety of songs, polished poly-rhythmic beats (Modification, Facing Failure, Taking Control) as well as outstanding timing, combine to form a oneness without equal. Actually, I could have named every single song (rather than the three titles above) as examples - this just for your information. (Note by the reviewer: I would have cut this review by half anyway, so it wouldn't be too long.) Especially the three (!) instrumental pieces are full of musical "raciness." The guys know what they want, and above all they know how to draw the listener under their spell (Crossing Swords, Ballad Of The Sacred Cows, The Sandtrap Jig). For once, I permit myself to claim that Tiles are the only ones capable of being considered the heirs of Rush, provided that, with "Different Stages," Rush have truly created their own memorial [i.e., nothing more is likely to be released by Rush]. The spirit of Rush will never die! (Note of the reviewer: The remaining four titles are called Static, The Learning Curve, Safe Procedures, and Reasonable Doubt. Just for the sake of completeness.)
Publicaiton: Metal Hammer
Country Of Origin: Germany
Review Date: April 1999
Reviewer: Christof Leim
Traslation: Al Grabenstein
The four gentlemen from Detroit can play and place great emphasis on interesting arrangements. This is called prog rock and, to be sure, prog rock of the calmer kind in the style of Enchant or Soul Cages. Tiles are rather nondramatic; instead of excessive bombast, there is a slightly mystical atmosphere and lots of acoustic guitars, even violins and banjos. The second line of influence is based on solid hard rock riffs, although this is not a headbanger album. Rather, the emphasis here is on atmosphere and harmonies. Of course, there is a lot in this album, the songs include a mass of details, yet at times lack a certain tension. In certain areas, what is intended to sound absolutely progressive and classy comes across as Dream Theater scale exercises, however, this does not happen very often. Overall, "Presents ..." holds appeal through beautiful melodies and interesting parts more in the tradition of classical prog rockers than as hard "artful-metal-flitting fingers."
Publication: IO Pages
Country Of Origin: The Netherlands
Review Date: April 1999
Reviewer: Erik Neuteboom
The American quartet Tiles hails from Detroit. That is a stone's throw from the Canadian Province of Ontario. From this short distance the choice of a Rush-like sound is easily made, then. And indeed, the influence of Rush (Power Windows period) is everywhere. The band even used producer Terry Brown (who, besides Rush, is also known for his work for IQ and Fates Warning) and designer Hugh Syme (Rush, Queensryche, and Megadeth) for the cover. After the debut album of the same name tiles released in '94, and the follow-up Fence The Clear in 1997 (both well received in Aardschok), and after listening to the third CD Presents Of Mind, one can conclude that Tiles, just like Rush, has developed from a hard rock trio to a group with a progressive sound: more vocal harmonies, more keyboards and greater integration of acoustic instruments (mandolin, acoustic guitar and violin). Accordingly, Tiles sounds compact and smooth; the very dynamic drummer Pat DeLeon and guitarist Chris Herin excel especially in the instrumental pieces (and especially so in Ballad Of The Sacred Cows and Safe Procedures). Original is something else. There is only sporadic use of keyboards, nevertheless, Tiles know how to keep my attention (especially in the second, somewhat more original part of the CD).
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Summer 1999
Reviewer: James Bickers
In a remarkably short amount of time, the Detroit band Tiles has sculpted a uniquely identifiable sound, first evidenced on their last album, the wonderful Fence The Clear. On Presents Of Mind, their third disc, Tiles brings us further refinement in their magical blend of prog sensibility and hard-rock energy.
The voice of Tiles is the remarkable Paul Rarick, a clear-toned, powerful singer with a strangely refined phrasing style: When hearing him sing, one imagines Rarick standing perfectly still, eyes closed and body calm. In this way he commands the listener's attention - oozing confidence, his lines clean, crisp and very emotional. He is a singular talent.
Guitarist and chief songwriter Chris Herin, drummer Pat DeLeon, and bassist Jeff Whittle are as tight as tight can be. Again, the qualities of confidence and maturity spring to mind when defining Tiles' delivery.
This is a band that has endured constant Rush comparisons. Yes, the Rush influence is clearly evident. But perhaps it's time for those comparisons to stop, because Tiles is a band that has come into its own - and a band that deserves your attention.
Publication: The Glass Eye
Country Of Origin: USA
Review Date: Summer 1999
Reviewer: Mark Tinta
Good to see Detroit's Tiles making the relative big time, getting a deal with Magna Carta, America's top prog label. I recall being a bit harsh on their last album, the independently released Fence The Clear (1997), and I said something along the lines of the band being well on their way to better things, which Presents Of Mind more than capably demonstrates.
The opening track, Static, deserves to be blaring on every radio station in the country. There's a very strong Rush influence on it, particularly a guitar lick in the very beginning that's an obvious homage to The Spirit Of Radio. On Modification, Tiles has a strong Promised Land-era Queensryche vibe going on, and the instrumental Crossing Swords is straight out of the King Crimson handbook. But on these songs, despite the frequent raiding of influences, Tiles manage to create their own sound, which one can hear clearly upon repeat listenings. Sure, singer Paul Rarick still sounds a lot like Dream Theater's James LaBrie, but so what?
The growth this band has shown since their last album is nothing short of astonishing (that jam on Safe Procedures!). Of course, I say this only because guitarist Chris Herin kicked my ass at a Fates Warning show for my negative comments about Fence The Clear. No, seriously, Presents Of Mind is one of the strongest releases of late, and I honestly can't imagine any self-respecting fan of modern progressive rock not getting into it.
3.5 out of 4
Publication: Striktly For Konissuers
Country Of Origin: USA
Review Date: June 21, 1999
Reviewer: Brent Jones
Tiles' third album is another excellent thinking person's album. Chris Herin's lyrics are top notch and he may be just about the best in the business now at dealing with life in the modern corporate and personal world. Every song has an interesting lyric and I'd place Herin in with any of the great writers like Fish or Neil Peart.
Musically the band still shows some Rush influence but is starting to branch out - especially by using more acoustic guitars, mandolin, and banjo. They are still a hard rock band - and show little of the 90's "can't really play influence." They might be compared favorably with the prog-metal bands, but Tiles doesn't go over the top in the playing - preferring to let the songs speak for themselves. Taking Control has one of the best riffs I've ever heard and the songs will certainly be one of my favorites for years to come. Reasonable Doubt is the epic track on the album and features violin playing from Matthew Parmenter of Discipline and a lyric that criticizes capital punishment.
Not much more to say other than Presents Of Mind is an excellent hard rock album with thought provoking lyrics. It's hard to believe that this is a part time venture for the guys in the band. By the way, this one should be out this week in the US with bonus tracks and has already been released in Europe and Japan.
Publication: Scream Magazine
Country Of Origin: Norway
Review Date: Issue #46, April/May 1999
Reviewer: A.J. Blisten
It's a sheer pleasure listening to this album. The music is that good - plain and simple. The songs are advanced, but not too complicated and are focused on good melody throughout the album. The vocals are brilliant - as always. The final track on the cd shows new musical ideas I hope we'll hear more of in the future from this great progrock band.
5 out of 6
Publcation: Metal Invader
Country Of Origin: Greece
Review Date: March 1999
Reviewer: Sakis Fragos
Translation: Mrs. Dimetriades and Nick Kyriazes
For sure, the more fanatical of you should remember the preview that I gave for the then upcoming third work of Tiles. I said that it is going to make many people have consecutive heart attacks - me the undersigned having the first one. There are many people who don't know this astonishing group that has already released its eponymous debut and the fantastic Fence The Clear one and a half years ago.
So, let me tell you that these four men from Detroit have created a candidate for all-time classic CD. Presents Of Mind is a disc where just looking at the cover predisposes you for an all around masterpiece. It shows a floating brain with a bow wrapped around it and the back shows a brain inside a shipping box. The images depict a play on the different meanings of 'presents' and 'presence' (more details in the interview).
But let's go now to the music. I heard somebody accuse Tiles of copying Rush. I will not agree or disagree but simply state that Rush has not made a better record since Grace Under Pressure than Presents Of Mind! Only Counterparts comes close. Though Tiles leans on a strong Canadian inheritance - even having a strong synthetic link in Terry Brown who did the mixing - they have created a disc that will even be loved by people who only have a slight connection with progressive music.
However, Presents Of Mind is a disc that stands a step higher than the previous one. The voice of Paul Rarick is an ideal combination of James LaBrie (listen to the enticing interpretation of Static that starts the disc), Geddy Lee, and even Geoff Tate and the bass playing is excellent. The biggest strength of the group is they control themselves to create not simple pieces with a beginning, middle, and end; but pieces that have memorable refrains that stick to your brain easily. I recommend you pay close attention to Reasonable Doubt, one of the best songs I have ever heard - and Static. But don't misunderstand me, all the songs are excellent!
My verbosity must come to an end. I warn everyone who buys this CD to be aware that it is going to be very hard to take it out of your CD player. The same thing happened to me. Since I previously gave Fence The Clear a 5 of 6, I must proportionately give Presents Of Mind a 6 out 6!
Publication: Through Different Eyes
Reviewers: Harry Kuipers and Greger Rönnqvist
Review One (Harry Kuipers):
This is the 3rd CD of the US-progmetallers Tiles. After their self-titeled debut CD and Fence The Clear, Presents Of Mind is released. Our American friends are inspirated by Rush and you can hear that. Especially in the slower parts and the rhythm guitar parts. The difference between Tiles and Rush is that Tiles is heavier. So, for those who think that Rush is too soft, this is the CD I highly recommend you. But don't compare with e.g. Symphony X. Tiles is not that heavy. The CD contains 10 songs. It is real progressive metal with great bass-parts, a very good singer with a voice that fits very good in this music, nice songs (very innovate, they show me that they are good and technical talented players) and a good production. What does a progmetal-freak want more?!
Rating: at least 9,5 points out of 10. It depends of my mood. The most striking tracks: Ballad Of The Sacred Cows (instrumental) and Taking Control.
Review Two (Greger Rönnqvist):
This is the third album from the four-piece US band Tiles, and it's almost as good as the previous album Fence The Clear from 1997. Still you can hear the reminiscences to Queensryche and Rush although they aren't that obvious any longer. Perhaps you could compare this album though with Queensryche's "Promised Land" and "Hear In The Now Frontier". The music is intricate progressive metal with good melodies and arrangements.
The singer is really good and the guitarist is a real maestro. The highlights are the opener Static, The Learning Curve, Ballad Of The Sacred Cows, Taking Control, Safe Procedures and the last track Reasonable Doubt that contains violin played by Discipline's Matthew Parmenter. As said in the press info "the lyrics focus on how the human mind adapts to the many different and changing situations life presents".
The cover artwork that is displaying the music very well is made by Hugh Syme, known for his work with Aerosmith, Arena, Fates Warning, Bon Jovi, Kiss, Megadeth, Queensryche, Rush and Whitesnake among others. I recommend you to buy this CD immediately.
Website: ProgressiveWorld.NET
Review Date: January 2000
Reviewer: Stephanie Sollow
How aptly titled this album is, as it was included in a Christmas gift to myself (how kind of me). But, more than that, these thoughtful compositions are little gifts in themselves - ones with which you should reward yourself with all due haste.
But, how did I come to that conclusion? You see, it started this way. I had heard quite a bit about Tiles, read the reviews and interviews, and the comparison that keeps getting bandied about is Rush - but at first, I didn't hear much of Rush at all (but for a bit here and there). So, the holiday season was upon me, and since I seem to be an avid collector of Magna Carta releases, and because I had read that press, I put this on that gifts-to-self list...unsure of what exactly I was going to hear. As you can tell by the opening paragraph, I was presently surprised.
Tiles are an American progressive band who bear some similarity to Dream Theater, if Dream Theater were more progressive rock than progressive metal - say Dream Theater in their lower-key moments. Vocalist Paul Rarick sounds a bit like James LaBrie when LaBrie is both on his game and not reaching for impossible vocal heights. That isn't meant to be a dig at LaBrie, but merely pointing out that Rarick isn't a "soaring" vocalist. But, not so much like LaBrie that he sounds like a clone, mind you - it's actually more the quality of his voice rather than the use.
If you like prog bands such as Spock's Beard or Discipline for example, then you will like Tiles. Echolyn also comes to mind, so I suspect that we can throw in Echolyn offshoots Still and Finneus Gauge into that mix as well. Tristan Park also comes to mind, when Chuck Dyac was singing lead.
Speaking of Discipline, frontman Matthew Parmenter guests on violin on the beautiful Reasonable Doubt.
Drummer Pat DeLeon adds backing vocals. His and Rarick's voice blend nicely, creating nice, smooth harmonies. Although they both have voices in the same range, they are just enough different to give a nice blending of tones.
Where the Rush comparison comes to the fore is the bass work Jeff Whittle, whose tone is fat and warm not unlike Geddy Lee's. The instrumental Ballad Of The Sacred Cows is at times like Rush, at times like Dream Theater and is perhaps the best example of the two influences. DeLeon's percussion is very much like Portnoy's, Whittle's bass Lee-like, and guitarist Chris Herin brings in something different - the Tiles portion of the troika. Well, that is until chaos comes into play - where Herin tears up the fretboard - shreds, really - sometimes sounding like an acidic violin.
The brief instrumental The Sandtrap Jig is like a calm oasis in a wind driven desert, so in contrast to the rest of the album, and yet it fits.
There are so many wonderful moments on this disk, it's tough to pick out a few to highlight. Modifications is one, The Learning Curve (which features a very nice guitar solo just before the end, short but impressive), but it is Taking Control, the most Rush like track here, that is the song that will sell you on Tiles; the moment when it all clicks into place. Not because it is Rush-like, but because this is the song that proves the bands chops, that proves that, for example, DeLeon is a dynamic drummer using a great deal of his kit, not just the kick drum to bash out a repetitive rhythm.
And while progressive rock isn't about memorable choruses, it is this very thing that Tiles also excels at, because it draws you in to the song, into the lyrics, and thus to the point of it all. This is no more apparent than on the closer Reasonable Doubt. I say Rarick's vocal style doesn't include soaring, but that's not entirely true - as here it does, not reaching for those impossible heights, but it soars like a bird on the wing, in that epic, emotional way. Simply beautiful. If Taking Control sells you, this will make you take them home with you (figuratively speaking, of course).
Two live tracks close out the album - Patterns and Token Pledge - and while the production is a bit muddy, I have now put their two previous disks on the gifts-to-self list (for which I don't need a holiday).
And so this review comes full circle - for all that it doesn't sound like Rush, the best comparison that can be made is to Rush - thoughtful, intelligent lyrical observations supported by a dynamic and driving beat. We should expect no less from any band we listen to - progressive rock or otherwise. This is simply great stuff and they are deserving of all the praise they are getting. Had I heard this a few months earlier, it surely would have made my Top 10 list.
And for the bad play on words for the month: you should have the presence of mind to pick up Presents Of Mind.
Country Of Origin: The Netherlands
Review Date: March 1999
Reviewer: Liselotte Hegt
Traslation: Al Grabenstein
In his last interview with Aardschok, guitarist Chris Herin predicted that the new, third CD would sound a little heavier, here and there somewhat straighter, with a human-nature-like and thematic character. In this regard, Presents Of Mind does not disappoint and is even a little groovier than I had expected it to be. Just listen to the opener Static which is built upon a very appropriately chosen melodic line. The production is as wide as a room and Terry Brown (Rush, Fates Warning) again handled the mixing. Besides, in Pat DeLeon the band has found an excellent drummer. Presents Of Mind also offers consistent quality and reinforces the appeal of Tiles, namely a unique sound. The sensitive voice of Paul Rarick stands out, the guitar playing is full of character and, moreover, the playful themes of the mandolin are very original. The song Facing Failure and the instrumentals Crossing Swords, Ballad Of The Sacred Cows and the lighthearted dance titled The Sandtrap Jig are leftovers from the previous album Fence The Clear, but fit in seemlessly with the new, somewhat more compact material. Then again, Safe Procedures is such a nicely worked-out jam number, chock-full of musical craftsmanship. The final title, Reasonable Doubt shines because of its passionate vocals and sad violin arrangements. A complete home run. Yep, we have again a multifaceted progressive rock album in our hands!
94/100
Publication: Rock Hard
Country Of Origin: Germany
Review Date: March 1999
Reviewer: Frank Trojan
Traslation: Al Grabenstein
This American group is becoming slowly, but surely an established institution in the prog genre. The band is maintaining its chosen style unwaveringly and is practicing "Frickel-Metal" rock at the highest level. Pure hardcore prog. In contrast to their previous albums, Presents Of Mind places greater emphasis on intricate arrangements and abstract melody sequences, and is moving in the direction of Magellan, Shadow Gallery or Enchant. Thus, Static is an opener with a super melody in the best tradition of Threshold, Reasonable Doubt a melancholy semi-ballad with strings, and Taking Control is a fresh reminder of the more commercial songs of Rush. The potential that is in this group is unbelievable. However, Tiles so far do not manage to sustain a consistently high level of play. Thus, besides much that is positive in this disk, there are also some things that are less favorable. Therefore, the Yanks will probably again not succeed in hitting a home run.
7.5/10
Publication: Break Out
Country Of Origin: Germany
Review Date: April 1999
Reviewer: Sven Reinfrank
Traslation: Al Grabenstein
Every Rush fan will have waited for a long time for this third disk of the exceptional band Tiles, myself of course included without any if, and, or but. Indeed, Tiles are probably the only band on this planet that comes close to the music professors of Rush. And you are left quite literally speechless once you let Presents Of Mind flow through the sound system. A limitless variety of songs, polished poly-rhythmic beats (Modification, Facing Failure, Taking Control) as well as outstanding timing, combine to form a oneness without equal. Actually, I could have named every single song (rather than the three titles above) as examples - this just for your information. (Note by the reviewer: I would have cut this review by half anyway, so it wouldn't be too long.) Especially the three (!) instrumental pieces are full of musical "raciness." The guys know what they want, and above all they know how to draw the listener under their spell (Crossing Swords, Ballad Of The Sacred Cows, The Sandtrap Jig). For once, I permit myself to claim that Tiles are the only ones capable of being considered the heirs of Rush, provided that, with "Different Stages," Rush have truly created their own memorial [i.e., nothing more is likely to be released by Rush]. The spirit of Rush will never die! (Note of the reviewer: The remaining four titles are called Static, The Learning Curve, Safe Procedures, and Reasonable Doubt. Just for the sake of completeness.)
Publicaiton: Metal Hammer
Country Of Origin: Germany
Review Date: April 1999
Reviewer: Christof Leim
Traslation: Al Grabenstein
The four gentlemen from Detroit can play and place great emphasis on interesting arrangements. This is called prog rock and, to be sure, prog rock of the calmer kind in the style of Enchant or Soul Cages. Tiles are rather nondramatic; instead of excessive bombast, there is a slightly mystical atmosphere and lots of acoustic guitars, even violins and banjos. The second line of influence is based on solid hard rock riffs, although this is not a headbanger album. Rather, the emphasis here is on atmosphere and harmonies. Of course, there is a lot in this album, the songs include a mass of details, yet at times lack a certain tension. In certain areas, what is intended to sound absolutely progressive and classy comes across as Dream Theater scale exercises, however, this does not happen very often. Overall, "Presents ..." holds appeal through beautiful melodies and interesting parts more in the tradition of classical prog rockers than as hard "artful-metal-flitting fingers."
Publication: IO Pages
Country Of Origin: The Netherlands
Review Date: April 1999
Reviewer: Erik Neuteboom
The American quartet Tiles hails from Detroit. That is a stone's throw from the Canadian Province of Ontario. From this short distance the choice of a Rush-like sound is easily made, then. And indeed, the influence of Rush (Power Windows period) is everywhere. The band even used producer Terry Brown (who, besides Rush, is also known for his work for IQ and Fates Warning) and designer Hugh Syme (Rush, Queensryche, and Megadeth) for the cover. After the debut album of the same name tiles released in '94, and the follow-up Fence The Clear in 1997 (both well received in Aardschok), and after listening to the third CD Presents Of Mind, one can conclude that Tiles, just like Rush, has developed from a hard rock trio to a group with a progressive sound: more vocal harmonies, more keyboards and greater integration of acoustic instruments (mandolin, acoustic guitar and violin). Accordingly, Tiles sounds compact and smooth; the very dynamic drummer Pat DeLeon and guitarist Chris Herin excel especially in the instrumental pieces (and especially so in Ballad Of The Sacred Cows and Safe Procedures). Original is something else. There is only sporadic use of keyboards, nevertheless, Tiles know how to keep my attention (especially in the second, somewhat more original part of the CD).
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Summer 1999
Reviewer: James Bickers
In a remarkably short amount of time, the Detroit band Tiles has sculpted a uniquely identifiable sound, first evidenced on their last album, the wonderful Fence The Clear. On Presents Of Mind, their third disc, Tiles brings us further refinement in their magical blend of prog sensibility and hard-rock energy.
The voice of Tiles is the remarkable Paul Rarick, a clear-toned, powerful singer with a strangely refined phrasing style: When hearing him sing, one imagines Rarick standing perfectly still, eyes closed and body calm. In this way he commands the listener's attention - oozing confidence, his lines clean, crisp and very emotional. He is a singular talent.
Guitarist and chief songwriter Chris Herin, drummer Pat DeLeon, and bassist Jeff Whittle are as tight as tight can be. Again, the qualities of confidence and maturity spring to mind when defining Tiles' delivery.
This is a band that has endured constant Rush comparisons. Yes, the Rush influence is clearly evident. But perhaps it's time for those comparisons to stop, because Tiles is a band that has come into its own - and a band that deserves your attention.
Publication: The Glass Eye
Country Of Origin: USA
Review Date: Summer 1999
Reviewer: Mark Tinta
Good to see Detroit's Tiles making the relative big time, getting a deal with Magna Carta, America's top prog label. I recall being a bit harsh on their last album, the independently released Fence The Clear (1997), and I said something along the lines of the band being well on their way to better things, which Presents Of Mind more than capably demonstrates.
The opening track, Static, deserves to be blaring on every radio station in the country. There's a very strong Rush influence on it, particularly a guitar lick in the very beginning that's an obvious homage to The Spirit Of Radio. On Modification, Tiles has a strong Promised Land-era Queensryche vibe going on, and the instrumental Crossing Swords is straight out of the King Crimson handbook. But on these songs, despite the frequent raiding of influences, Tiles manage to create their own sound, which one can hear clearly upon repeat listenings. Sure, singer Paul Rarick still sounds a lot like Dream Theater's James LaBrie, but so what?
The growth this band has shown since their last album is nothing short of astonishing (that jam on Safe Procedures!). Of course, I say this only because guitarist Chris Herin kicked my ass at a Fates Warning show for my negative comments about Fence The Clear. No, seriously, Presents Of Mind is one of the strongest releases of late, and I honestly can't imagine any self-respecting fan of modern progressive rock not getting into it.
3.5 out of 4
Publication: Striktly For Konissuers
Country Of Origin: USA
Review Date: June 21, 1999
Reviewer: Brent Jones
Tiles' third album is another excellent thinking person's album. Chris Herin's lyrics are top notch and he may be just about the best in the business now at dealing with life in the modern corporate and personal world. Every song has an interesting lyric and I'd place Herin in with any of the great writers like Fish or Neil Peart.
Musically the band still shows some Rush influence but is starting to branch out - especially by using more acoustic guitars, mandolin, and banjo. They are still a hard rock band - and show little of the 90's "can't really play influence." They might be compared favorably with the prog-metal bands, but Tiles doesn't go over the top in the playing - preferring to let the songs speak for themselves. Taking Control has one of the best riffs I've ever heard and the songs will certainly be one of my favorites for years to come. Reasonable Doubt is the epic track on the album and features violin playing from Matthew Parmenter of Discipline and a lyric that criticizes capital punishment.
Not much more to say other than Presents Of Mind is an excellent hard rock album with thought provoking lyrics. It's hard to believe that this is a part time venture for the guys in the band. By the way, this one should be out this week in the US with bonus tracks and has already been released in Europe and Japan.
Publication: Scream Magazine
Country Of Origin: Norway
Review Date: Issue #46, April/May 1999
Reviewer: A.J. Blisten
It's a sheer pleasure listening to this album. The music is that good - plain and simple. The songs are advanced, but not too complicated and are focused on good melody throughout the album. The vocals are brilliant - as always. The final track on the cd shows new musical ideas I hope we'll hear more of in the future from this great progrock band.
5 out of 6
Publcation: Metal Invader
Country Of Origin: Greece
Review Date: March 1999
Reviewer: Sakis Fragos
Translation: Mrs. Dimetriades and Nick Kyriazes
For sure, the more fanatical of you should remember the preview that I gave for the then upcoming third work of Tiles. I said that it is going to make many people have consecutive heart attacks - me the undersigned having the first one. There are many people who don't know this astonishing group that has already released its eponymous debut and the fantastic Fence The Clear one and a half years ago.
So, let me tell you that these four men from Detroit have created a candidate for all-time classic CD. Presents Of Mind is a disc where just looking at the cover predisposes you for an all around masterpiece. It shows a floating brain with a bow wrapped around it and the back shows a brain inside a shipping box. The images depict a play on the different meanings of 'presents' and 'presence' (more details in the interview).
But let's go now to the music. I heard somebody accuse Tiles of copying Rush. I will not agree or disagree but simply state that Rush has not made a better record since Grace Under Pressure than Presents Of Mind! Only Counterparts comes close. Though Tiles leans on a strong Canadian inheritance - even having a strong synthetic link in Terry Brown who did the mixing - they have created a disc that will even be loved by people who only have a slight connection with progressive music.
However, Presents Of Mind is a disc that stands a step higher than the previous one. The voice of Paul Rarick is an ideal combination of James LaBrie (listen to the enticing interpretation of Static that starts the disc), Geddy Lee, and even Geoff Tate and the bass playing is excellent. The biggest strength of the group is they control themselves to create not simple pieces with a beginning, middle, and end; but pieces that have memorable refrains that stick to your brain easily. I recommend you pay close attention to Reasonable Doubt, one of the best songs I have ever heard - and Static. But don't misunderstand me, all the songs are excellent!
My verbosity must come to an end. I warn everyone who buys this CD to be aware that it is going to be very hard to take it out of your CD player. The same thing happened to me. Since I previously gave Fence The Clear a 5 of 6, I must proportionately give Presents Of Mind a 6 out 6!
Publication: Through Different Eyes
Reviewers: Harry Kuipers and Greger Rönnqvist
Review One (Harry Kuipers):
This is the 3rd CD of the US-progmetallers Tiles. After their self-titeled debut CD and Fence The Clear, Presents Of Mind is released. Our American friends are inspirated by Rush and you can hear that. Especially in the slower parts and the rhythm guitar parts. The difference between Tiles and Rush is that Tiles is heavier. So, for those who think that Rush is too soft, this is the CD I highly recommend you. But don't compare with e.g. Symphony X. Tiles is not that heavy. The CD contains 10 songs. It is real progressive metal with great bass-parts, a very good singer with a voice that fits very good in this music, nice songs (very innovate, they show me that they are good and technical talented players) and a good production. What does a progmetal-freak want more?!
Rating: at least 9,5 points out of 10. It depends of my mood. The most striking tracks: Ballad Of The Sacred Cows (instrumental) and Taking Control.
Review Two (Greger Rönnqvist):
This is the third album from the four-piece US band Tiles, and it's almost as good as the previous album Fence The Clear from 1997. Still you can hear the reminiscences to Queensryche and Rush although they aren't that obvious any longer. Perhaps you could compare this album though with Queensryche's "Promised Land" and "Hear In The Now Frontier". The music is intricate progressive metal with good melodies and arrangements.
The singer is really good and the guitarist is a real maestro. The highlights are the opener Static, The Learning Curve, Ballad Of The Sacred Cows, Taking Control, Safe Procedures and the last track Reasonable Doubt that contains violin played by Discipline's Matthew Parmenter. As said in the press info "the lyrics focus on how the human mind adapts to the many different and changing situations life presents".
The cover artwork that is displaying the music very well is made by Hugh Syme, known for his work with Aerosmith, Arena, Fates Warning, Bon Jovi, Kiss, Megadeth, Queensryche, Rush and Whitesnake among others. I recommend you to buy this CD immediately.
Website: ProgressiveWorld.NET
Review Date: January 2000
Reviewer: Stephanie Sollow
How aptly titled this album is, as it was included in a Christmas gift to myself (how kind of me). But, more than that, these thoughtful compositions are little gifts in themselves - ones with which you should reward yourself with all due haste.
But, how did I come to that conclusion? You see, it started this way. I had heard quite a bit about Tiles, read the reviews and interviews, and the comparison that keeps getting bandied about is Rush - but at first, I didn't hear much of Rush at all (but for a bit here and there). So, the holiday season was upon me, and since I seem to be an avid collector of Magna Carta releases, and because I had read that press, I put this on that gifts-to-self list...unsure of what exactly I was going to hear. As you can tell by the opening paragraph, I was presently surprised.
Tiles are an American progressive band who bear some similarity to Dream Theater, if Dream Theater were more progressive rock than progressive metal - say Dream Theater in their lower-key moments. Vocalist Paul Rarick sounds a bit like James LaBrie when LaBrie is both on his game and not reaching for impossible vocal heights. That isn't meant to be a dig at LaBrie, but merely pointing out that Rarick isn't a "soaring" vocalist. But, not so much like LaBrie that he sounds like a clone, mind you - it's actually more the quality of his voice rather than the use.
If you like prog bands such as Spock's Beard or Discipline for example, then you will like Tiles. Echolyn also comes to mind, so I suspect that we can throw in Echolyn offshoots Still and Finneus Gauge into that mix as well. Tristan Park also comes to mind, when Chuck Dyac was singing lead.
Speaking of Discipline, frontman Matthew Parmenter guests on violin on the beautiful Reasonable Doubt.
Drummer Pat DeLeon adds backing vocals. His and Rarick's voice blend nicely, creating nice, smooth harmonies. Although they both have voices in the same range, they are just enough different to give a nice blending of tones.
Where the Rush comparison comes to the fore is the bass work Jeff Whittle, whose tone is fat and warm not unlike Geddy Lee's. The instrumental Ballad Of The Sacred Cows is at times like Rush, at times like Dream Theater and is perhaps the best example of the two influences. DeLeon's percussion is very much like Portnoy's, Whittle's bass Lee-like, and guitarist Chris Herin brings in something different - the Tiles portion of the troika. Well, that is until chaos comes into play - where Herin tears up the fretboard - shreds, really - sometimes sounding like an acidic violin.
The brief instrumental The Sandtrap Jig is like a calm oasis in a wind driven desert, so in contrast to the rest of the album, and yet it fits.
There are so many wonderful moments on this disk, it's tough to pick out a few to highlight. Modifications is one, The Learning Curve (which features a very nice guitar solo just before the end, short but impressive), but it is Taking Control, the most Rush like track here, that is the song that will sell you on Tiles; the moment when it all clicks into place. Not because it is Rush-like, but because this is the song that proves the bands chops, that proves that, for example, DeLeon is a dynamic drummer using a great deal of his kit, not just the kick drum to bash out a repetitive rhythm.
And while progressive rock isn't about memorable choruses, it is this very thing that Tiles also excels at, because it draws you in to the song, into the lyrics, and thus to the point of it all. This is no more apparent than on the closer Reasonable Doubt. I say Rarick's vocal style doesn't include soaring, but that's not entirely true - as here it does, not reaching for those impossible heights, but it soars like a bird on the wing, in that epic, emotional way. Simply beautiful. If Taking Control sells you, this will make you take them home with you (figuratively speaking, of course).
Two live tracks close out the album - Patterns and Token Pledge - and while the production is a bit muddy, I have now put their two previous disks on the gifts-to-self list (for which I don't need a holiday).
And so this review comes full circle - for all that it doesn't sound like Rush, the best comparison that can be made is to Rush - thoughtful, intelligent lyrical observations supported by a dynamic and driving beat. We should expect no less from any band we listen to - progressive rock or otherwise. This is simply great stuff and they are deserving of all the praise they are getting. Had I heard this a few months earlier, it surely would have made my Top 10 list.
And for the bad play on words for the month: you should have the presence of mind to pick up Presents Of Mind.
