Tiles Reviews: Fence The Clear
Publication: The Detroit Free Press
Country Of Origin: USA
Review Date: April 1997
Reviewer: Brian McCollum
In a genre often snubbed for its selfish flash, Detroit's leading progressive rock band clicks into black-belt grooves that rely more on clever interplay than on lonely chops-wielding. Not to say that
instrumental prowess isn't a priority: There's plenty of indulgence on tunes such as Another's Hand, which pops with a lengthy lick-swaping jam. But more typical is the precisely layered Gameshow, in which wide,
shimmering guitars ride lockstep with carefully calculated drum lines, and bass figures bounce underneath like pinballs.
With massaging by longtime Rush producer Terry Brown, the 10-track album sparkles with a thick-but-untangled mix that gives each sound a discrete home. Top tracks include the straight rocker Beneath The Surface
and the furiously tight closing epic, Checkerboards.
Publication: HM Magazine
Country Of Origin: USA
Review Date: June 1997
Reviewer: Doug Van Pelt
This indie band from Detroit had this new effort mixed by Terry Brown of Rush fame, and the result is clean and superb sonics. This band easily wins our "Pick of the Litter" award for this issue. Fans of Dream
Theater will appreciate the commercial appeal of the songs and the quality vocals of Paul Rarick. The chops presented are not as showy as Dream Theater, but top-notch nevertheless.
Publication: Aardschok
Country Of Origin: The Netherlands
Review Date: June 1997
Reviewer: Michel van de Moosdijk
Translation: Al Grabenstein
A full two years ago, the American band Tiles knew how to more than pleasantly surprise me with their debut CD. I described the band as a progressive cross-pollination of Rush, Gamalon, and pinch of Dream
Theater. This description still is appropriate for their new CD which turned out, if that is possible, even a bit better. Moreover, the clarity of the sound has been intensively worked on (and improved); which
is why the disc now can measure up against those of the very best progressive rock bands. Especially fans of Rush and Dream Theater will lick their chops with this album.
Guitarist Chris Herin again turns in splendidly polished themes, while the structure of the numbers is again very strong. OK, it is perhaps not that original, but just listen to the fascinating sounds of Cactus
Valley. Quite melodious through marvelous singer/vocalist Paul Rarick, quite varied through the supple play of the rhythm section, and based on a fine, very heavy riff. A whale of a number, such as there are
more to be found on Fence The Clear.
Just think of the epic Changing The Guard or the acoustically tinged Wading Pool. These are enormously good numbers, which are then surpassed by the centerpiece of the album, Checkerboards, which lasts almost a
quarter of an hour. People who are waiting for the new Dream Theater CD ought to get Fence The Clear as a warm-up. A jewel of a CD which here is currently available only as an import.
Publication: DMA Musiczine
Country Of Origin: USA
Review Date: May 1997
Reviewer: Eric Harabadian
The CD cover depicts a swordsman, in full fencing regalia, aiming his weapon at apparently some invisible target. Standing in the middle of a grassy field, he's poised for attack, yet his movements suggest
utter futility. Pardon the philosophizing, but the aforementioned analogy could apply to many a band's attempts at a career. They work hard to accomplish their goals, They try to "strike" their "target"
audience, yet, more often than not, they end up missing their mark. It's as if they were "fencing the clear," so to speak!
Well, while the concept is eye-catching and provocative, it by no means describes the current state of the band Tiles. Riding high on the heals of their self-titled debut disc, Fence The Clear is technically
and sonically nothing short of amazing! Present are the meticulous production, thought- provoking lyrics, and artful arrangements you've come to expect from this progressive quartet. But, just when you thought
you've heard it all, they raise the stakes a bit.
True, the Rush cum Dream Theater comparisons may still apply, but the swinging Buddy Rich-induced drumming of Mark Evans, which kicks off the album, is just one unique example of how Tiles is re-defining the
progressive rock genre for the next millennium.
Included in this release is a tasteful increase in the blending of acoustic and electric instruments, as well as keyboards and general experiments with ambiance and sound textures.
But for all their majestic pomp and circumstance, what really endures are the songs. They've had over three years to really hone their sound since the first record and their maturity truly shows. The result is a
diverse, yet very focused album.
Along for the ride again are studio wunderkids co-producer and engineer Chris Andrews and musician extraordinaire, Kevin Chown. Their resourceful ears kept things on track as evidenced on tunes like the
politically observant Beneath The Surface or the percolatingly grooving Cactus Valley. Another's Hand is an older song from a previous incarnation of the band; but, the frenzied, uptempo track gets a redux for
'97 which is much more expansive and colorful.
Some other pleasant departures from the original Tiles sound is the acoustic-vocal showcase of Chris Herin and Paul Rarick on The Wading Pool, and bassist Jeff Whittle's classically-inspired solo keyboard piece
Fallen Pieces. Changing The Guard is somewhat symphonic in nature while Gabby's Happy Song is another solo vignette featuring Herin's beautiful acoustic guitar work.
Clocking in at nearly 15 minutes, Checkerboards is, by far, one of the most ambitious tunes this band, or most others that I can think of for that matter, has attempted. Beginning with a simple, almost Celtic folk-type melody, Paul Rarick sings with utter
conviction while Herin's soothing mandolin provides a solid backdrop. This soon gives way to an electric sheet of thundering drums and impassioned guitar work. Moods shift from insistent to lilting, as odd tempo
changes and time signatures abound.
Ten tracks in all, the CD was mixed to perfection by internationally renowned producer-engineer Terry Brown of Rush and Fates Warning fame. Yes, while some bands may experience the "sophomore slump," these guys
have stood their ground with yet another hit, and are right on target!
Publication: Striktly For Konissuers
Review Date: April 1997
Reviewer: Kurt Torster, Jr.
Tiles' debut album was an excellent modern prog-metal outing that most resembled latter-day Rush... maybe just a little too much though. I'm happy to say they've progressed beyond that and started to forge a
sound of their own - mainly on the back of vocalist Paul Rarick's excellent and soaring vocals and Terry Brown's punchy post-production. The rest of the band also has many opportunities to show off their
abundance of talent as well. My first listen to Beneath The Surface, Another's Hand, and The Wading Pool (who's highs and lows are stunning to say the least) left me speechless.
Prog fans will be in heaven with lengthy tracks like the atmospheric Changing The Guard and the huge album closer Checkerboards. And, with a song like Gameshow (where guitarist Chris Herin really shines with
some offbeat riffing), they could even be looking at a hit in the right radio markets.
Simply put, these are some really good songs that are demanding to be heard, AND get better with each listen. If you're at all put off by the direction Rush and Queensryche have headed, then Tiles just may be
your savior. Oh, and extra kudos to a rather interesting cover.
Publication: Striktly For Konissuers
Review Date: May 1997
Reviewer: Brent Jones
Elsewhere is my review of Queensryche's new one. Obviously, I wasn't all that impressed. May I offer an alternative? This album would certainly be on the list. Though closer in sound to mid-period Rush (think
Permanent Waves or Moving Pictures), Tiles offers a style of music that very few seem to offer these days - and no, they are not trapped in the past.
On this album Tiles brings a complex set of songs to the listener from both a musical and lyrical perspective. The lyrics are very thought provoking and cover ground from watching people make fools of themselves
on gameshows to reviewing one's position in life. None of the songs cover simple boy meets girl type situations.
On reflection, not only does the band take Rush's place offering complex hard rock (prog-metal), but they also take Rush's place as the thinking man's metal band. Yes, the lyrics by Chris Herin (guitar, keys)
are that good!
Changing The Guard is my favorite song on the album, and I offer a taste of the lyrics: "Move beyond the clear, Pass the barriers implied, Understand the reasons why..." They certainly make a connection with
me.
Musically the album stretches from the jazzy intro on Patterns, to acoustic guitar-based tracks like The Wading Pool, to the full-blown epic Checkerboards. One final note, is the packaging is absolutely terrific
for an independent release.
Rated: "A"
Publication: Striktly For Konissuers
Publication: Expose' Magazine
Country Of Origin: USA
Review Date: Fall 1997
Reviewer: Peter Thelen
Not being elementally familiar with their debut disc from a couple years ago, this second release by the Detroit-based four piece showcases four talented musicians based in an area of the progressive rock
spectrum inhabited by bands like Leger De Main. A sound that seems to have grown out of the original trademark style of Hemispheres/ Moving Pictures- era Rush (which Rush unfortunately abandoned long ago) and
progressed along a slightly different path. Having Terry Brown (Rush's silent fourth member on their first ten-or-so albums) as the (mixing) engineer surely helped Tiles achieve that end.
As the album plays onward from the first few tracks though, the differences and more original aspects of Tiles' sound come to the fore. Dedicated vocalist Paul Rarick commands the lyrical end capably; drummer
Mark Evans is no Neil Peart, but still does an outstanding job on every track. The mandolin touches on several tracks by guitarist Chris Herin add a unique touch amid the blazing lead and rhythm work; and,
bassist Jeff Whittle maintains a busy bottom end that keeps every song moving forward.
The sidelong closer Checkerboards more or less ties everything together and features some shredder instrumental breaks. An impressive second release that deserves to be heard.
Publication: Music News Network
Country Of Origin: USA
Review Date: May 1997
Reviewer: Christine Holz
The latest release from Tiles, Fence The Clear, is now available on Standing Pavement Records and is a great, heavy progressive offering. Fence The Clear showcases Tiles' Dream Theater-like sound in a well
organized song list that enhances their diverse style.
The overall theme of the disc is "games" or "game-related," with songs titled Checkerboards, Gameshow, and Fallen Pieces. Much of the lyrical content eludes to this theme as well.
The opening cut, Patterns, starts out with a Styx or Yes-like intro and goes into a kickin' song. Other tracks that caught our ears were: The Wading Pool, a delicate ballad which showcases Chris Herin's
masterful guitar skills; Changing The Guard includes some tasteful mandolin and keyboard work; and, Checkerboards is the epic piece, clocking in at almost 15 minutes.
Throughout the disc you hear some clever bass riffs, compliments of Jeff Whittle, while Paul Rarick's flawless, strong vocals accommodates each song; whether it is an in-the-face rocker or a delicate ballad.
Drummer Mark Evans keeps the rhythm going with some syncopation - his playing much like that of Mike Portnoy's from Dream Theater.
Excellent production on this release as well. We strongly encourage you to check them out; especially if you enjoy bands like Dream Theater. Congrats to Tiles for such an excellent sophomore release.
Publication: The Spirit of Rush
Country Of Origin: England
Review Date: May 1997
Reviewer: Mick Burnett
Just space left to mention the new album from Detroit-based band Tiles. Fence The Clear was mixed by one Terry Brown, as mentioned in last month's news page, and what an excellent job he has made of it. I've
lived with it for a couple of weeks now and it improves with every listen (check out how to order a copy direct on the inside back cover), any news of a UK/European release Chris?
From the opening fusion-sounding Patterns through the epic closing number Checkerboards, Tiles cover all the bases. Why this band is not signed to a major label is beyond belief. Personal favorites include
Another's Hand, with its marvelous mid-section extended instrumental passage; Gameshow, with its spot-on lyrics which could have been written by Zappa in his heyday ("He's a wonderful guy" indeed!); and, last
but not least my absolute fave, Changing The Guard. Poignant lyrics meet haunting/atmospheric music in a truly astounding song, which I'm sure will be a highlight of any gigs the band play in the future. By
the way, any news on a UK/European tour yet Chris--Chris? Fallen Pieces would make a good (Medieval) sounding intro tape to take the stage to as well.
To steal a phrase from over twenty years ago that most (older) U.K. Rush fans will be familiar with: "(Tiles) are probably the best undiscovered band in Europe at the moment. I strongly recommend you to check
them out, NOW!" (quote copyright G. Barton)
Publication: Flying Pig's Music Review
Review Date: June 1997
Reviewer: Steven Prinz
I was recently walking through a department store when an over-eager sales clerk came up to me selling some generic brand cologne. The sales pitch was the usual "If you like Brand X, then you'll like our
cologne." At that moment I couldn't help but remember using almost the same line to get a friend of mine to check out the new Tiles CD, Fence The Clear. "Hey, if you like Rush," I told him, "you've got to check
these guys out."
It was also at this moment I realized the injustice I laid upon what is probably one of the tightest, most professional sounding bands in the Detroit area. Although the comparison to Rush is not without merit,
Tiles easily stands on its own talents -- and talent is one thing this band is in no way lacking -- which the members set out to prove on Fence The Clear. The music is tight, progressive rock, combined with
intelligent lyrics and powerful vocals; which, is immediately addicting and frequented with just enough tempo and melody shifts to keep the songs interesting, no matter how many times you listen to them.
Opening up with a short jazzy intro that segues into the hard rocking Patterns, the band immediately lets the listener know they are willing and able to explore any and all musical avenues. A few rockers later,
Another's Hand showcases just how talented the band members are with guitarist Chris Herin, bassist Jeff Whittle, and drummer Mark Evans all tearing furiously into each other with relentless syncopation.
Likewise, Paul Rarick gets to showcase his vocal abilities on the next track The Wading Pool, lending his voice over the top of some intricately beautiful acoustic guitar work. Two instrumentals mark the second
half of the disc: The first, Fallen Pieces, is a short moody moog synth piece that sets the stage well for the somber Changing The Guard. The mood is lifted up again with the other instrumental
Gabby's Happy Song which segues into Checkerboards, a fourteen minute lyrically introspective musical tour de force.
More recently, I was recommending the disc to another friend and thought my words out more carefully this time. "Hey, if you like tight progressive rhythms, cool lyrics, and some virtuoso playing," I told him,
"You've got to check these guys out." He replied, "Well, I really like Rush..."
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 1997
Reviewer: John Collinge
This second offering from Michigan-based Tiles comprises densely packed, linear guitar rock in a Rush-like vein with progressive filigree. The album's piece de resistance, the 15-minute closer,
Checkerboards, features interesting shifts between electric and acoustic guitars and mandolin. Also of note: Another's Hand with its gymnastic, Iron Maiden-style guitar/bass refrains; Cactus Valley, which
paints a colorful portrait of desert life; and the hauntingly poignant Gameshow [he probably means Changing The Guard - tiles webmaster].
Some jazzy improv creeps into the mix, sparingly. Mostly, Fence The Clear is straight-ahead, wide-scope rock, propelled by Chris Herin's guitars; and, the clear, agreeable vocals of Paul Rarick.
The disc has excellent production quality, as the band captures a three-dimensional "live" sound throughout. They also did a great job with the CD booklet. A major-league package through and through.
Publication: Music Uncovered
Country Of Origin: USA
Review Date: June 1997
Reviewer: Louis Hesselt-van-Dinter
Ray wrote that their first (CD) was "tailored for mainstream audiences." I suppose I can hear it in this one too, as many of the tunes have a "hook," and the non-edgy guitar distortion they use is pretty
popular. I'll always have a soft spot for this type of music: good rocking pop with hints of prog.
While this is not nearly as challenging as the stuff I prefer, it is catchy and fun. It's well played and not overly pretentious. It's great on a sunny day, in the car, and loud!
Publication: The Detroit Free Press
Country Of Origin: USA
Review Date: April 1997
Reviewer: Brian McCollum
In a genre often snubbed for its selfish flash, Detroit's leading progressive rock band clicks into black-belt grooves that rely more on clever interplay than on lonely chops-wielding. Not to say that instrumental prowess isn't a priority: There's plenty of indulgence on tunes such as Another's Hand, which pops with a lengthy lick-swaping jam. But more typical is the precisely layered Gameshow, in which wide, shimmering guitars ride lockstep with carefully calculated drum lines, and bass figures bounce underneath like pinballs.
With massaging by longtime Rush producer Terry Brown, the 10-track album sparkles with a thick-but-untangled mix that gives each sound a discrete home. Top tracks include the straight rocker Beneath The Surface and the furiously tight closing epic, Checkerboards.
Publication: HM Magazine
Country Of Origin: USA
Review Date: June 1997
Reviewer: Doug Van Pelt
This indie band from Detroit had this new effort mixed by Terry Brown of Rush fame, and the result is clean and superb sonics. This band easily wins our "Pick of the Litter" award for this issue. Fans of Dream Theater will appreciate the commercial appeal of the songs and the quality vocals of Paul Rarick. The chops presented are not as showy as Dream Theater, but top-notch nevertheless.
Publication: Aardschok
Country Of Origin: The Netherlands
Review Date: June 1997
Reviewer: Michel van de Moosdijk
Translation: Al Grabenstein
A full two years ago, the American band Tiles knew how to more than pleasantly surprise me with their debut CD. I described the band as a progressive cross-pollination of Rush, Gamalon, and pinch of Dream Theater. This description still is appropriate for their new CD which turned out, if that is possible, even a bit better. Moreover, the clarity of the sound has been intensively worked on (and improved); which is why the disc now can measure up against those of the very best progressive rock bands. Especially fans of Rush and Dream Theater will lick their chops with this album.
Guitarist Chris Herin again turns in splendidly polished themes, while the structure of the numbers is again very strong. OK, it is perhaps not that original, but just listen to the fascinating sounds of Cactus Valley. Quite melodious through marvelous singer/vocalist Paul Rarick, quite varied through the supple play of the rhythm section, and based on a fine, very heavy riff. A whale of a number, such as there are more to be found on Fence The Clear.
Just think of the epic Changing The Guard or the acoustically tinged Wading Pool. These are enormously good numbers, which are then surpassed by the centerpiece of the album, Checkerboards, which lasts almost a quarter of an hour. People who are waiting for the new Dream Theater CD ought to get Fence The Clear as a warm-up. A jewel of a CD which here is currently available only as an import.
Publication: DMA Musiczine
Country Of Origin: USA
Review Date: May 1997
Reviewer: Eric Harabadian
The CD cover depicts a swordsman, in full fencing regalia, aiming his weapon at apparently some invisible target. Standing in the middle of a grassy field, he's poised for attack, yet his movements suggest utter futility. Pardon the philosophizing, but the aforementioned analogy could apply to many a band's attempts at a career. They work hard to accomplish their goals, They try to "strike" their "target" audience, yet, more often than not, they end up missing their mark. It's as if they were "fencing the clear," so to speak!
Well, while the concept is eye-catching and provocative, it by no means describes the current state of the band Tiles. Riding high on the heals of their self-titled debut disc, Fence The Clear is technically and sonically nothing short of amazing! Present are the meticulous production, thought- provoking lyrics, and artful arrangements you've come to expect from this progressive quartet. But, just when you thought you've heard it all, they raise the stakes a bit.
True, the Rush cum Dream Theater comparisons may still apply, but the swinging Buddy Rich-induced drumming of Mark Evans, which kicks off the album, is just one unique example of how Tiles is re-defining the progressive rock genre for the next millennium.
Included in this release is a tasteful increase in the blending of acoustic and electric instruments, as well as keyboards and general experiments with ambiance and sound textures.
But for all their majestic pomp and circumstance, what really endures are the songs. They've had over three years to really hone their sound since the first record and their maturity truly shows. The result is a diverse, yet very focused album.
Along for the ride again are studio wunderkids co-producer and engineer Chris Andrews and musician extraordinaire, Kevin Chown. Their resourceful ears kept things on track as evidenced on tunes like the politically observant Beneath The Surface or the percolatingly grooving Cactus Valley. Another's Hand is an older song from a previous incarnation of the band; but, the frenzied, uptempo track gets a redux for '97 which is much more expansive and colorful.
Some other pleasant departures from the original Tiles sound is the acoustic-vocal showcase of Chris Herin and Paul Rarick on The Wading Pool, and bassist Jeff Whittle's classically-inspired solo keyboard piece Fallen Pieces. Changing The Guard is somewhat symphonic in nature while Gabby's Happy Song is another solo vignette featuring Herin's beautiful acoustic guitar work.
Clocking in at nearly 15 minutes, Checkerboards is, by far, one of the most ambitious tunes this band, or most others that I can think of for that matter, has attempted. Beginning with a simple, almost Celtic folk-type melody, Paul Rarick sings with utter conviction while Herin's soothing mandolin provides a solid backdrop. This soon gives way to an electric sheet of thundering drums and impassioned guitar work. Moods shift from insistent to lilting, as odd tempo changes and time signatures abound.
Ten tracks in all, the CD was mixed to perfection by internationally renowned producer-engineer Terry Brown of Rush and Fates Warning fame. Yes, while some bands may experience the "sophomore slump," these guys have stood their ground with yet another hit, and are right on target!
Publication: Striktly For Konissuers
Review Date: April 1997
Reviewer: Kurt Torster, Jr.
Tiles' debut album was an excellent modern prog-metal outing that most resembled latter-day Rush... maybe just a little too much though. I'm happy to say they've progressed beyond that and started to forge a sound of their own - mainly on the back of vocalist Paul Rarick's excellent and soaring vocals and Terry Brown's punchy post-production. The rest of the band also has many opportunities to show off their abundance of talent as well. My first listen to Beneath The Surface, Another's Hand, and The Wading Pool (who's highs and lows are stunning to say the least) left me speechless.
Prog fans will be in heaven with lengthy tracks like the atmospheric Changing The Guard and the huge album closer Checkerboards. And, with a song like Gameshow (where guitarist Chris Herin really shines with some offbeat riffing), they could even be looking at a hit in the right radio markets.
Simply put, these are some really good songs that are demanding to be heard, AND get better with each listen. If you're at all put off by the direction Rush and Queensryche have headed, then Tiles just may be your savior. Oh, and extra kudos to a rather interesting cover.
Publication: Striktly For Konissuers
Review Date: May 1997
Reviewer: Brent Jones
Elsewhere is my review of Queensryche's new one. Obviously, I wasn't all that impressed. May I offer an alternative? This album would certainly be on the list. Though closer in sound to mid-period Rush (think Permanent Waves or Moving Pictures), Tiles offers a style of music that very few seem to offer these days - and no, they are not trapped in the past.
On this album Tiles brings a complex set of songs to the listener from both a musical and lyrical perspective. The lyrics are very thought provoking and cover ground from watching people make fools of themselves on gameshows to reviewing one's position in life. None of the songs cover simple boy meets girl type situations.
On reflection, not only does the band take Rush's place offering complex hard rock (prog-metal), but they also take Rush's place as the thinking man's metal band. Yes, the lyrics by Chris Herin (guitar, keys) are that good!
Changing The Guard is my favorite song on the album, and I offer a taste of the lyrics: "Move beyond the clear, Pass the barriers implied, Understand the reasons why..." They certainly make a connection with me.
Musically the album stretches from the jazzy intro on Patterns, to acoustic guitar-based tracks like The Wading Pool, to the full-blown epic Checkerboards. One final note, is the packaging is absolutely terrific for an independent release.
Rated: "A"
Publication: Striktly For Konissuers
Publication: Expose' Magazine
Country Of Origin: USA
Review Date: Fall 1997
Reviewer: Peter Thelen
Not being elementally familiar with their debut disc from a couple years ago, this second release by the Detroit-based four piece showcases four talented musicians based in an area of the progressive rock spectrum inhabited by bands like Leger De Main. A sound that seems to have grown out of the original trademark style of Hemispheres/ Moving Pictures- era Rush (which Rush unfortunately abandoned long ago) and progressed along a slightly different path. Having Terry Brown (Rush's silent fourth member on their first ten-or-so albums) as the (mixing) engineer surely helped Tiles achieve that end.
As the album plays onward from the first few tracks though, the differences and more original aspects of Tiles' sound come to the fore. Dedicated vocalist Paul Rarick commands the lyrical end capably; drummer Mark Evans is no Neil Peart, but still does an outstanding job on every track. The mandolin touches on several tracks by guitarist Chris Herin add a unique touch amid the blazing lead and rhythm work; and, bassist Jeff Whittle maintains a busy bottom end that keeps every song moving forward.
The sidelong closer Checkerboards more or less ties everything together and features some shredder instrumental breaks. An impressive second release that deserves to be heard.
Publication: Music News Network
Country Of Origin: USA
Review Date: May 1997
Reviewer: Christine Holz
The latest release from Tiles, Fence The Clear, is now available on Standing Pavement Records and is a great, heavy progressive offering. Fence The Clear showcases Tiles' Dream Theater-like sound in a well organized song list that enhances their diverse style.
The overall theme of the disc is "games" or "game-related," with songs titled Checkerboards, Gameshow, and Fallen Pieces. Much of the lyrical content eludes to this theme as well.
The opening cut, Patterns, starts out with a Styx or Yes-like intro and goes into a kickin' song. Other tracks that caught our ears were: The Wading Pool, a delicate ballad which showcases Chris Herin's masterful guitar skills; Changing The Guard includes some tasteful mandolin and keyboard work; and, Checkerboards is the epic piece, clocking in at almost 15 minutes.
Throughout the disc you hear some clever bass riffs, compliments of Jeff Whittle, while Paul Rarick's flawless, strong vocals accommodates each song; whether it is an in-the-face rocker or a delicate ballad. Drummer Mark Evans keeps the rhythm going with some syncopation - his playing much like that of Mike Portnoy's from Dream Theater.
Excellent production on this release as well. We strongly encourage you to check them out; especially if you enjoy bands like Dream Theater. Congrats to Tiles for such an excellent sophomore release.
Publication: The Spirit of Rush
Country Of Origin: England
Review Date: May 1997
Reviewer: Mick Burnett
Just space left to mention the new album from Detroit-based band Tiles. Fence The Clear was mixed by one Terry Brown, as mentioned in last month's news page, and what an excellent job he has made of it. I've lived with it for a couple of weeks now and it improves with every listen (check out how to order a copy direct on the inside back cover), any news of a UK/European release Chris?
From the opening fusion-sounding Patterns through the epic closing number Checkerboards, Tiles cover all the bases. Why this band is not signed to a major label is beyond belief. Personal favorites include Another's Hand, with its marvelous mid-section extended instrumental passage; Gameshow, with its spot-on lyrics which could have been written by Zappa in his heyday ("He's a wonderful guy" indeed!); and, last but not least my absolute fave, Changing The Guard. Poignant lyrics meet haunting/atmospheric music in a truly astounding song, which I'm sure will be a highlight of any gigs the band play in the future. By the way, any news on a UK/European tour yet Chris--Chris? Fallen Pieces would make a good (Medieval) sounding intro tape to take the stage to as well.
To steal a phrase from over twenty years ago that most (older) U.K. Rush fans will be familiar with: "(Tiles) are probably the best undiscovered band in Europe at the moment. I strongly recommend you to check them out, NOW!" (quote copyright G. Barton)
Publication: Flying Pig's Music Review
Review Date: June 1997
Reviewer: Steven Prinz
I was recently walking through a department store when an over-eager sales clerk came up to me selling some generic brand cologne. The sales pitch was the usual "If you like Brand X, then you'll like our cologne." At that moment I couldn't help but remember using almost the same line to get a friend of mine to check out the new Tiles CD, Fence The Clear. "Hey, if you like Rush," I told him, "you've got to check these guys out."
It was also at this moment I realized the injustice I laid upon what is probably one of the tightest, most professional sounding bands in the Detroit area. Although the comparison to Rush is not without merit, Tiles easily stands on its own talents -- and talent is one thing this band is in no way lacking -- which the members set out to prove on Fence The Clear. The music is tight, progressive rock, combined with intelligent lyrics and powerful vocals; which, is immediately addicting and frequented with just enough tempo and melody shifts to keep the songs interesting, no matter how many times you listen to them.
Opening up with a short jazzy intro that segues into the hard rocking Patterns, the band immediately lets the listener know they are willing and able to explore any and all musical avenues. A few rockers later, Another's Hand showcases just how talented the band members are with guitarist Chris Herin, bassist Jeff Whittle, and drummer Mark Evans all tearing furiously into each other with relentless syncopation. Likewise, Paul Rarick gets to showcase his vocal abilities on the next track The Wading Pool, lending his voice over the top of some intricately beautiful acoustic guitar work. Two instrumentals mark the second half of the disc: The first, Fallen Pieces, is a short moody moog synth piece that sets the stage well for the somber Changing The Guard. The mood is lifted up again with the other instrumental Gabby's Happy Song which segues into Checkerboards, a fourteen minute lyrically introspective musical tour de force.
More recently, I was recommending the disc to another friend and thought my words out more carefully this time. "Hey, if you like tight progressive rhythms, cool lyrics, and some virtuoso playing," I told him, "You've got to check these guys out." He replied, "Well, I really like Rush..."
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 1997
Reviewer: John Collinge
This second offering from Michigan-based Tiles comprises densely packed, linear guitar rock in a Rush-like vein with progressive filigree. The album's piece de resistance, the 15-minute closer, Checkerboards, features interesting shifts between electric and acoustic guitars and mandolin. Also of note: Another's Hand with its gymnastic, Iron Maiden-style guitar/bass refrains; Cactus Valley, which paints a colorful portrait of desert life; and the hauntingly poignant Gameshow [he probably means Changing The Guard - tiles webmaster].
Some jazzy improv creeps into the mix, sparingly. Mostly, Fence The Clear is straight-ahead, wide-scope rock, propelled by Chris Herin's guitars; and, the clear, agreeable vocals of Paul Rarick.
The disc has excellent production quality, as the band captures a three-dimensional "live" sound throughout. They also did a great job with the CD booklet. A major-league package through and through.
Publication: Music Uncovered
Country Of Origin: USA
Review Date: June 1997
Reviewer: Louis Hesselt-van-Dinter
Ray wrote that their first (CD) was "tailored for mainstream audiences." I suppose I can hear it in this one too, as many of the tunes have a "hook," and the non-edgy guitar distortion they use is pretty popular. I'll always have a soft spot for this type of music: good rocking pop with hints of prog.
While this is not nearly as challenging as the stuff I prefer, it is catchy and fun. It's well played and not overly pretentious. It's great on a sunny day, in the car, and loud!
Review Date: April 1997
Reviewer: Brian McCollum
In a genre often snubbed for its selfish flash, Detroit's leading progressive rock band clicks into black-belt grooves that rely more on clever interplay than on lonely chops-wielding. Not to say that instrumental prowess isn't a priority: There's plenty of indulgence on tunes such as Another's Hand, which pops with a lengthy lick-swaping jam. But more typical is the precisely layered Gameshow, in which wide, shimmering guitars ride lockstep with carefully calculated drum lines, and bass figures bounce underneath like pinballs.
With massaging by longtime Rush producer Terry Brown, the 10-track album sparkles with a thick-but-untangled mix that gives each sound a discrete home. Top tracks include the straight rocker Beneath The Surface and the furiously tight closing epic, Checkerboards.
Publication: HM Magazine
Country Of Origin: USA
Review Date: June 1997
Reviewer: Doug Van Pelt
This indie band from Detroit had this new effort mixed by Terry Brown of Rush fame, and the result is clean and superb sonics. This band easily wins our "Pick of the Litter" award for this issue. Fans of Dream Theater will appreciate the commercial appeal of the songs and the quality vocals of Paul Rarick. The chops presented are not as showy as Dream Theater, but top-notch nevertheless.
Publication: Aardschok
Country Of Origin: The Netherlands
Review Date: June 1997
Reviewer: Michel van de Moosdijk
Translation: Al Grabenstein
A full two years ago, the American band Tiles knew how to more than pleasantly surprise me with their debut CD. I described the band as a progressive cross-pollination of Rush, Gamalon, and pinch of Dream Theater. This description still is appropriate for their new CD which turned out, if that is possible, even a bit better. Moreover, the clarity of the sound has been intensively worked on (and improved); which is why the disc now can measure up against those of the very best progressive rock bands. Especially fans of Rush and Dream Theater will lick their chops with this album.
Guitarist Chris Herin again turns in splendidly polished themes, while the structure of the numbers is again very strong. OK, it is perhaps not that original, but just listen to the fascinating sounds of Cactus Valley. Quite melodious through marvelous singer/vocalist Paul Rarick, quite varied through the supple play of the rhythm section, and based on a fine, very heavy riff. A whale of a number, such as there are more to be found on Fence The Clear.
Just think of the epic Changing The Guard or the acoustically tinged Wading Pool. These are enormously good numbers, which are then surpassed by the centerpiece of the album, Checkerboards, which lasts almost a quarter of an hour. People who are waiting for the new Dream Theater CD ought to get Fence The Clear as a warm-up. A jewel of a CD which here is currently available only as an import.
Publication: DMA Musiczine
Country Of Origin: USA
Review Date: May 1997
Reviewer: Eric Harabadian
The CD cover depicts a swordsman, in full fencing regalia, aiming his weapon at apparently some invisible target. Standing in the middle of a grassy field, he's poised for attack, yet his movements suggest utter futility. Pardon the philosophizing, but the aforementioned analogy could apply to many a band's attempts at a career. They work hard to accomplish their goals, They try to "strike" their "target" audience, yet, more often than not, they end up missing their mark. It's as if they were "fencing the clear," so to speak!
Well, while the concept is eye-catching and provocative, it by no means describes the current state of the band Tiles. Riding high on the heals of their self-titled debut disc, Fence The Clear is technically and sonically nothing short of amazing! Present are the meticulous production, thought- provoking lyrics, and artful arrangements you've come to expect from this progressive quartet. But, just when you thought you've heard it all, they raise the stakes a bit.
True, the Rush cum Dream Theater comparisons may still apply, but the swinging Buddy Rich-induced drumming of Mark Evans, which kicks off the album, is just one unique example of how Tiles is re-defining the progressive rock genre for the next millennium.
Included in this release is a tasteful increase in the blending of acoustic and electric instruments, as well as keyboards and general experiments with ambiance and sound textures.
But for all their majestic pomp and circumstance, what really endures are the songs. They've had over three years to really hone their sound since the first record and their maturity truly shows. The result is a diverse, yet very focused album.
Along for the ride again are studio wunderkids co-producer and engineer Chris Andrews and musician extraordinaire, Kevin Chown. Their resourceful ears kept things on track as evidenced on tunes like the politically observant Beneath The Surface or the percolatingly grooving Cactus Valley. Another's Hand is an older song from a previous incarnation of the band; but, the frenzied, uptempo track gets a redux for '97 which is much more expansive and colorful.
Some other pleasant departures from the original Tiles sound is the acoustic-vocal showcase of Chris Herin and Paul Rarick on The Wading Pool, and bassist Jeff Whittle's classically-inspired solo keyboard piece Fallen Pieces. Changing The Guard is somewhat symphonic in nature while Gabby's Happy Song is another solo vignette featuring Herin's beautiful acoustic guitar work.
Clocking in at nearly 15 minutes, Checkerboards is, by far, one of the most ambitious tunes this band, or most others that I can think of for that matter, has attempted. Beginning with a simple, almost Celtic folk-type melody, Paul Rarick sings with utter conviction while Herin's soothing mandolin provides a solid backdrop. This soon gives way to an electric sheet of thundering drums and impassioned guitar work. Moods shift from insistent to lilting, as odd tempo changes and time signatures abound.
Ten tracks in all, the CD was mixed to perfection by internationally renowned producer-engineer Terry Brown of Rush and Fates Warning fame. Yes, while some bands may experience the "sophomore slump," these guys have stood their ground with yet another hit, and are right on target!
Publication: Striktly For Konissuers
Review Date: April 1997
Reviewer: Kurt Torster, Jr.
Tiles' debut album was an excellent modern prog-metal outing that most resembled latter-day Rush... maybe just a little too much though. I'm happy to say they've progressed beyond that and started to forge a sound of their own - mainly on the back of vocalist Paul Rarick's excellent and soaring vocals and Terry Brown's punchy post-production. The rest of the band also has many opportunities to show off their abundance of talent as well. My first listen to Beneath The Surface, Another's Hand, and The Wading Pool (who's highs and lows are stunning to say the least) left me speechless.
Prog fans will be in heaven with lengthy tracks like the atmospheric Changing The Guard and the huge album closer Checkerboards. And, with a song like Gameshow (where guitarist Chris Herin really shines with some offbeat riffing), they could even be looking at a hit in the right radio markets.
Simply put, these are some really good songs that are demanding to be heard, AND get better with each listen. If you're at all put off by the direction Rush and Queensryche have headed, then Tiles just may be your savior. Oh, and extra kudos to a rather interesting cover.
Publication: Striktly For Konissuers
Review Date: May 1997
Reviewer: Brent Jones
Elsewhere is my review of Queensryche's new one. Obviously, I wasn't all that impressed. May I offer an alternative? This album would certainly be on the list. Though closer in sound to mid-period Rush (think Permanent Waves or Moving Pictures), Tiles offers a style of music that very few seem to offer these days - and no, they are not trapped in the past.
On this album Tiles brings a complex set of songs to the listener from both a musical and lyrical perspective. The lyrics are very thought provoking and cover ground from watching people make fools of themselves on gameshows to reviewing one's position in life. None of the songs cover simple boy meets girl type situations.
On reflection, not only does the band take Rush's place offering complex hard rock (prog-metal), but they also take Rush's place as the thinking man's metal band. Yes, the lyrics by Chris Herin (guitar, keys) are that good!
Changing The Guard is my favorite song on the album, and I offer a taste of the lyrics: "Move beyond the clear, Pass the barriers implied, Understand the reasons why..." They certainly make a connection with me.
Musically the album stretches from the jazzy intro on Patterns, to acoustic guitar-based tracks like The Wading Pool, to the full-blown epic Checkerboards. One final note, is the packaging is absolutely terrific for an independent release.
Rated: "A"
Publication: Striktly For Konissuers
Publication: Expose' Magazine
Country Of Origin: USA
Review Date: Fall 1997
Reviewer: Peter Thelen
Not being elementally familiar with their debut disc from a couple years ago, this second release by the Detroit-based four piece showcases four talented musicians based in an area of the progressive rock spectrum inhabited by bands like Leger De Main. A sound that seems to have grown out of the original trademark style of Hemispheres/ Moving Pictures- era Rush (which Rush unfortunately abandoned long ago) and progressed along a slightly different path. Having Terry Brown (Rush's silent fourth member on their first ten-or-so albums) as the (mixing) engineer surely helped Tiles achieve that end.
As the album plays onward from the first few tracks though, the differences and more original aspects of Tiles' sound come to the fore. Dedicated vocalist Paul Rarick commands the lyrical end capably; drummer Mark Evans is no Neil Peart, but still does an outstanding job on every track. The mandolin touches on several tracks by guitarist Chris Herin add a unique touch amid the blazing lead and rhythm work; and, bassist Jeff Whittle maintains a busy bottom end that keeps every song moving forward.
The sidelong closer Checkerboards more or less ties everything together and features some shredder instrumental breaks. An impressive second release that deserves to be heard.
Publication: Music News Network
Country Of Origin: USA
Review Date: May 1997
Reviewer: Christine Holz
The latest release from Tiles, Fence The Clear, is now available on Standing Pavement Records and is a great, heavy progressive offering. Fence The Clear showcases Tiles' Dream Theater-like sound in a well organized song list that enhances their diverse style.
The overall theme of the disc is "games" or "game-related," with songs titled Checkerboards, Gameshow, and Fallen Pieces. Much of the lyrical content eludes to this theme as well.
The opening cut, Patterns, starts out with a Styx or Yes-like intro and goes into a kickin' song. Other tracks that caught our ears were: The Wading Pool, a delicate ballad which showcases Chris Herin's masterful guitar skills; Changing The Guard includes some tasteful mandolin and keyboard work; and, Checkerboards is the epic piece, clocking in at almost 15 minutes.
Throughout the disc you hear some clever bass riffs, compliments of Jeff Whittle, while Paul Rarick's flawless, strong vocals accommodates each song; whether it is an in-the-face rocker or a delicate ballad. Drummer Mark Evans keeps the rhythm going with some syncopation - his playing much like that of Mike Portnoy's from Dream Theater.
Excellent production on this release as well. We strongly encourage you to check them out; especially if you enjoy bands like Dream Theater. Congrats to Tiles for such an excellent sophomore release.
Publication: The Spirit of Rush
Country Of Origin: England
Review Date: May 1997
Reviewer: Mick Burnett
Just space left to mention the new album from Detroit-based band Tiles. Fence The Clear was mixed by one Terry Brown, as mentioned in last month's news page, and what an excellent job he has made of it. I've lived with it for a couple of weeks now and it improves with every listen (check out how to order a copy direct on the inside back cover), any news of a UK/European release Chris?
From the opening fusion-sounding Patterns through the epic closing number Checkerboards, Tiles cover all the bases. Why this band is not signed to a major label is beyond belief. Personal favorites include Another's Hand, with its marvelous mid-section extended instrumental passage; Gameshow, with its spot-on lyrics which could have been written by Zappa in his heyday ("He's a wonderful guy" indeed!); and, last but not least my absolute fave, Changing The Guard. Poignant lyrics meet haunting/atmospheric music in a truly astounding song, which I'm sure will be a highlight of any gigs the band play in the future. By the way, any news on a UK/European tour yet Chris--Chris? Fallen Pieces would make a good (Medieval) sounding intro tape to take the stage to as well.
To steal a phrase from over twenty years ago that most (older) U.K. Rush fans will be familiar with: "(Tiles) are probably the best undiscovered band in Europe at the moment. I strongly recommend you to check them out, NOW!" (quote copyright G. Barton)
Publication: Flying Pig's Music Review
Review Date: June 1997
Reviewer: Steven Prinz
I was recently walking through a department store when an over-eager sales clerk came up to me selling some generic brand cologne. The sales pitch was the usual "If you like Brand X, then you'll like our cologne." At that moment I couldn't help but remember using almost the same line to get a friend of mine to check out the new Tiles CD, Fence The Clear. "Hey, if you like Rush," I told him, "you've got to check these guys out."
It was also at this moment I realized the injustice I laid upon what is probably one of the tightest, most professional sounding bands in the Detroit area. Although the comparison to Rush is not without merit, Tiles easily stands on its own talents -- and talent is one thing this band is in no way lacking -- which the members set out to prove on Fence The Clear. The music is tight, progressive rock, combined with intelligent lyrics and powerful vocals; which, is immediately addicting and frequented with just enough tempo and melody shifts to keep the songs interesting, no matter how many times you listen to them.
Opening up with a short jazzy intro that segues into the hard rocking Patterns, the band immediately lets the listener know they are willing and able to explore any and all musical avenues. A few rockers later, Another's Hand showcases just how talented the band members are with guitarist Chris Herin, bassist Jeff Whittle, and drummer Mark Evans all tearing furiously into each other with relentless syncopation. Likewise, Paul Rarick gets to showcase his vocal abilities on the next track The Wading Pool, lending his voice over the top of some intricately beautiful acoustic guitar work. Two instrumentals mark the second half of the disc: The first, Fallen Pieces, is a short moody moog synth piece that sets the stage well for the somber Changing The Guard. The mood is lifted up again with the other instrumental Gabby's Happy Song which segues into Checkerboards, a fourteen minute lyrically introspective musical tour de force.
More recently, I was recommending the disc to another friend and thought my words out more carefully this time. "Hey, if you like tight progressive rhythms, cool lyrics, and some virtuoso playing," I told him, "You've got to check these guys out." He replied, "Well, I really like Rush..."
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 1997
Reviewer: John Collinge
This second offering from Michigan-based Tiles comprises densely packed, linear guitar rock in a Rush-like vein with progressive filigree. The album's piece de resistance, the 15-minute closer, Checkerboards, features interesting shifts between electric and acoustic guitars and mandolin. Also of note: Another's Hand with its gymnastic, Iron Maiden-style guitar/bass refrains; Cactus Valley, which paints a colorful portrait of desert life; and the hauntingly poignant Gameshow [he probably means Changing The Guard - tiles webmaster].
Some jazzy improv creeps into the mix, sparingly. Mostly, Fence The Clear is straight-ahead, wide-scope rock, propelled by Chris Herin's guitars; and, the clear, agreeable vocals of Paul Rarick.
The disc has excellent production quality, as the band captures a three-dimensional "live" sound throughout. They also did a great job with the CD booklet. A major-league package through and through.
Publication: Music Uncovered
Country Of Origin: USA
Review Date: June 1997
Reviewer: Louis Hesselt-van-Dinter
Ray wrote that their first (CD) was "tailored for mainstream audiences." I suppose I can hear it in this one too, as many of the tunes have a "hook," and the non-edgy guitar distortion they use is pretty popular. I'll always have a soft spot for this type of music: good rocking pop with hints of prog.
While this is not nearly as challenging as the stuff I prefer, it is catchy and fun. It's well played and not overly pretentious. It's great on a sunny day, in the car, and loud!
