Tiles Reviews: Fly Paper
Publication: ProgScape.Com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Bill Knispel
Detroit’s Tiles is back with a vengeance on Fly Paper, their fifth album (and first studio effort in four years). The album reunites the band’s ‘classic’ line-up
for a full-length collaboration for the first time since 1997’s Fence the Clear. Original drummer Mark Evans (last heard on a Tiles album on parts of
Presents of Mind, released in 1999) is joined by founder members Chris Herin (guitars, keyboards), Jeff Whittle (bass) and Paul Rarick (vocals) on 8 tracks of
diverse and heavy progressive rock, with nods and winks to 1970’s hard rock that sound genuine, not forced.
Past efforts have been compared to Rush, for reasons both fair and unfair. The fact that Terry Brown has produced or mixed the majority of their efforts has led to a sound that
often shares similar sonic touchpoints to Rush’s material, while earlier albums have perhaps exhibited a bit of influence in songwriting that may have made some listeners
uncomfortable, worried that it was more imitation than influence. As the band has grown and, yes, progressed, these influences have fallen further to the side, and on Fly
Paper, Tiles showcases material that is well and truly theirs.
Tiles opens their 5th studio album with a crunch and a bang; “Hide in my Shadow” is a tasty rocker with loads of distorted guitar and a punchy, insistent drum line that pushes
the song forward. Paul Rarick’s vocals are pleasant, layered and multitracked to add richness to the mix. As a statement of purpose informing the listener that Tiles is back,
“Hide in my Shadow” works wonders. A deceptive acoustic opening leads into a second blast of hard rock power. “Sacred and Mundane” as a title features some of the same kind of
wordplay that would entice and excite Rush’s Neil Peart. The track is a fantastic rocker, with Mark Evans’ drumming adding flourishes under a thick mix of guitar and bass
courtesy of Chris Herin and Jeff Whittle. The occasional forays into acoustics add to the song, showcasing a band that deserves far more attention in a world full of Spock’s
Beard and Flower Kings-influenced bands than they get.
Continuing a tradition that stretches back to 1999’s Presents of Mind, “Sacred & Mundane” features a guest musician...none other than Rush’s Alex Lifeson, who adds
some fantastic acoustic and electric guitar parts (the band says all the predominant guitars on this track are Alex’s). Lifeson is not the only special guest performing on
Fly Paper, either; Max Webster’s Kim Mitchell contributes to the semi-epic “Dragons Dreams & Daring Deeds,” Alannah Myles (“Black Velvet”) adds her distinctive
vocals to “Back & Forth,” and Hugh Syme (the cover artist) contributes keyboards on “Crowded Emptiness.” Above and beyond this impressive coterie of guests, Nate Mills (vocals),
Sonya Mastick (percussion), and discipline frontman Matthew Parmenter (vocals, keyboards) contribute throughout (of note, this is the third collaboration between Parmenter and
Tiles).
Another play on words, “Landscrape” bursts from the speakers like an angry beast, all claws and teeth snapping and cracking and growling. The mix is bass heavy and filled with
crunchy baritone guitar sounds, perhaps one of the band’s heaviest efforts to date. One of the shortest compositions on Fly Paper at just 4:33, this is a song that
in a perfect would be getting all kinds of airplay on modern rock radio. Certainly more interesting than anything currently in heavy rotation, it is every bit as heavy as your
Stone Sours or Hinders or what have you. Lest one think Tiles is all rock and roll and heaviness, “Markers” shows the band exhibiting a gentleness and restraint that shows their
diversity while also making the heaviness all the more heavy. This is not a toss off track by any extent of the imagination; the opening two minutes are all about passion and
honesty in delivery, while the quicker bits that evolve out of this still feel like the same song, rather than two disparate compositions glued together out of necessity.
There’s a sense of melancholy pervading this track…world weariness and sadness drip from Paul Rarick’s vocal delivery, while Herin’s solos are down in the mix, sounding almost
ghostly and adrift in the mix.
An alliterative title to be sure, “Dragons, Dreams & Daring Deeds” is one of the album’s most expansive compositions, clocking in at just over eight minutes. Crunchy guitar
alternates with layered vocalese as the track opens, with instrumental showcases dominating the stage. Herin shows himself to be equally adept and bluesy, bent note playing and
glistening, Police-like atmospheres. Whittle and Marks lay down a thick, deep groove, while Rarick’s tenor vocals are fragile, soaring over the shifting musical landscape
beneath him. One might think this could have been included on the band’s 1999 release Presents of Mind, as it feels very similar stylistically to their 14-minute
epic “Reasonable Doubt” from that same album, yet this should not be seen as evidence of a band repeating themselves. Rather, it feels more like a band taking a fond look back
at where they came from while moving forward at the same time. The additional time given to this track allows it to develop a little more, moving in different directions while
also maintaining the elements that make Tiles the band they are.
Fly Paper closes with the “Hide & Seek,” the album’s longest track. This piece sees the band moving back toward the heaviness that typified the opening half of the
album, mixed with just a touch of light and shade. One thing that has impressed throughout is the richness of Chris Herin’s guitar playing throughout; rhythm work is thick and
crunchy without losing definition, while his soloing has just the right touch of hotness to cut through without breaking up. Rarick’s vocals are a joy to listen to as
well…alone, his clear tenor is one of the best in the genre, while layered and choir-ed, well…it’s like a host of angels singing for you. The song almost seems to shift gears
around 3:30 in, as the band fades away, making room for acoustic guitar, synth and gentle vocals. “Hide & Seek” is an incredibly diverse track, showcasing all the styles and
musical colours Tiles can bring to bear.
Heavy and willing to get in your face, while at the same time just as likely to pull back and show gentleness, Tiles is a band that will impress a wide range of progressive music
fans. Fly Paper is perhaps their strongest effort to date, meriting a closer look and repeated listens.
Publication: MusicConnection.Com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Eric A. Harabadian
Detroit-based band Tiles are poised to put themselves on the map with this release. Terry Brown, who has worked on some of their previous releases, is back and the former Rush
producer enlists none other than guitarist Alex Lifeson, along with vocalist Allanah Myles (“Black Velvet”) and Max Webster’s Kim Mitchell to help out on various tracks. The
result is an album that remains true to their artistic vision while exhibiting a more primal and radio-friendly edge.
Publication: Ytsejam.com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Tommy Hash
A truly unique band, ‘progressive’ in their motives of technical tendencies, but 100% hard rock all the way. Now on album number five, Detroit’s Tiles has shown growth, and on
their last record, Window Dressing, there was this expansion of production that really showed what the band could do outside of their tight power trio + lead singer groove (which
included ‘epic’ tracks), but now, Fly Paper has brought the band back to basics, and there are no complaints, as they still play the infectious melodies we have always loves them
for.
Featuring Terry Brown (Rush, Fates Warning) behind the board as the producer, Fly Paper is devoid of the overzealous use of keyboards or long improvisations for more sensible
precision that focuses on music that ‘rocks out.’ Opening the record is the compelling “Hide in My Shadow,” where the semi-staccato lead guitar plays up against the high string
acoustic six string attack – leading into this grinding, in-your-face tune that sets the tone for the rest of the record; other cuts such as “Back & Forth” (feat: Alannah Miles),
“Markers,” & “Dragons, Dreams, & Daring Deeds” (feat: Kim Mitchell) follow the same hard rockin’ formula with the grittiness playing against smoothed out melodies. The acoustic
“Crowded Emptiness” is one of the few songs to features keyboards (played by cover artist Hugh Syme) and is reminiscent of what could be a long lost tame Porcupine Tree cut,
while aggression is put in full force with “Markers.” Another tune of note on Fly Paper is the furiously sophisticated & heavy “Sacred and Mundane,” which features a very special
guest that added a personal touch to the Tiles classic, and even with Alex Liefson’s presence, this is by no means a Rush rip-off, it’s a Tiles tune front to back.
The many guests on this record added to the diversity and it’s the ‘balls to the wall’ stance that keeps the record filled with hard rock gusto. Fly Paper is further proof that
Tiles has profoundly set their own existence in the world of rock and roll, whether it be progressive rock or heavy metal, this quartet executes a melodic stance that so few
bands have been able to create, being one of the true innovators of hard rock over the past decade; it is time that the world takes note.
Publication: Metal Express Radio
Country Of Origin: USA
Review Date: January 2008
Reviewer: George Fustos
Right from the start of the new Tiles release Fly Paper, it is quite obvious the album has many undertones of the band Rush incorporated into their latest work. As you get deeper
into the rest of the tracks, it will become even more apparent. Now, before anyone thinks they are copying Rush, that is not the case at all. In fact, even though they are highly
influenced on this release, the Tiles actually have a different kind of feel to their music. One interesting note is that while many different artists that make guest
appearances, seven to be exact, Alex Lifeson himself (from Rush-no kidding) does appear on the second track “Sacred And Mundane.” Terry Brown (producer and leading sound
engineer) approached Alex about making a guest appearance on the album. After listening to some of the new material, Alex liked what he heard and decided to take him up on his
offer. So, before Rush went out on their last Snakes And Arrows tour, Terry went to Alex’s studio and the two of them worked painstakingly to produce the magic one hears on the
track. The band was so impressed by the amount of work Alex put into the song, they said it was beyond and above the call of duty. What else can you expect from a musician from
Rush … come on now, really!
The band Tiles has been around for some time now, since 1993 to be exact. This is their fifth studio album, not to mention one live recording. The Tiles are a Detroit,
Michigan-based band and its members are Chris Herin (guitars), Mark Evans (drums), Paul Rarick (vocals), and Jeff Whittle (bass). This quartet can surely create some special
music, which fans of Prog-Rock will enjoy.
The album consists of eight phenomenal compositions, plus a bonus track that will be on the initial pressing. Besides Alex Lifeson doing his magic on “Sacred And Mundane,” there
is vocalist Alannah Myles on “Back And Forth,” Hugh Syme playing keyboards on “Crowded Emptiness” and “Passing Notes” (the bonus track), and guitarist Kim Mitchell on “Dragons,
Dreams & Daring Deeds.” The band also had a few other friends join in to contribute their talents: Sonya Mastick on percussion, Matthew Parmenter on keyboards, plus a vocal cameo
from Nate Mills.
“Hide And Seek” is the longest track on the album at 8:31 minutes and probably the most intense stylistically. Arrangement-wise, it's probably the most difficult to play with all
the time variations and changes throughout -- a true Rush type compilation if there ever was one.
Fly Paper is fresh, creative, intriguing, lyrically emotional and powerful, musically impressive and talented, and incredibly suitable for today’s world. This quartet has done
something unique here and it's definitely worth picking up and giving it a listen. If you love Prog-Rock or Prog-Hard Rock with some subtle Melodic undertones here and there, or
if you are a huge fan of Rush, then this is a must. Put it on your list at once!
Publication: Room Thirteen
Country Of Origin: USA
Review Date: February 2008
Reviewer: Paul Chesworth
If you’ve never heard of Tiles, where have you been living for the last fifteen years. Founded in 1993, Detroit based Tiles is made up of Chris Herin (Guitar), Paul Rarick (Vocals), Jeff Whittle (Bass), and Mark Evans (Drums).
‘Fly Paper’ is Tiles latest and fifth album, and has been a while in coming. Mark Evans, once original drummer, returns to the stool to replace the departed Pat De Leon. It’s a good thing Mark came back to the fold as comparisons to Spinal Tap would be made.
Anywho, Tiles have been rightly or wrongly tagged with being ‘Rush’ clones. Some may say rightly so, especially when such luminaries as Terry Brown (Rush producer, also Fates Warning), Hugh Syme (Keyboards and past Rush artist aplenty) are involved in the project. Even utilising Brown’s address book to utilise Alex Lifeson on ‘Sacred & Mundane’
But also wrongly so as Tiles make reference to other progressive masters, Pink Floyd, Jethro Tull and even Queensryche, Porcupine Tree and Dream Theater. The songs can be perceived either way, but in my opinion they are a very strong collection of songs worthy of any band, let alone Rush. Dare I say it, even messrs Peart, Lifeson and Lee would be proud to have written some of the songs on offer.
Tiles also carry on the tradition dating back to their 1999 cd ‘Presents of Mind’ brining in other guest musicians. ‘Fly Paper ‘ features an impressive roster of special guests including Alannah Myles on vocals, Kim Mitchell (Max Webster) and Alex Lifeson (Rush) on guitar; Hugh Syme on keyboards; Matthew Parmenter (Discipline) keyboards and vocals (not for the first time, and is almost becoming a fifth member of the band); and Sonya Mastick on percussion.
The cd kicks off with the excellent ‘Hide In My Shadow’ a choppy riffed intro, moving to acoustic, with Paul’s layered vocals suiting the song excellently with a melodic chorus. Lifeson picks up the lead on ‘Sacred and Mundane’ with a definite Canadian influence, acoustic at first, then hard hitting with a distorted wall of sound, featuring the unmistakeable Lifeson guitar sound. Alannah (Black Velvet) Myles helps out with her distinctive sound on ‘Back and Forth’., before one of the highlights for me, as its one of the heaviest songs Tiles have ever performed in the play on words, ‘Landscrape’ complete with moody, heavy riffs, and a good choice for a second single. The second half is as equally as impressive as the first, ‘Markers’ defines the band, showing their diversity. ‘Dragons, Dreams, and Daring Deeds’ is expansive and ‘Hemishperes’-like in its sound. Final track ‘Hide & Seek’ is the albums longest track, and contains a hidden bonus track which isn’t on this promo. The song is a delight and changes pace at the 3:27 minute mark, lighter, technical, with great guitar interplay with Paul’s vocals.
Weakness is not a work in Herin’s dictionary. All songs are powerful and should be on any rock fans wish list. Hell, I got the promo for nothing, and I’m still going to buy it.
Tiles have given us an album, which is proggy, both melodic and heavy in places, subtle and gentle in others, polished all round and even managing to be ‘stripped down’ in the process taking me to the late 70’s and beyond and similar to ‘Permanent Waves’ in its approach. 2007 was a great year for progressive rock, and Tiles ensures 2008 gets us off to the same great start.
Tiles have enough style and panache to stand on their own two feet. As a label ‘Inside Out’ have a roster of bands to be damn proud of, and I cannot think if a previous release over the past couple of years I did not like, and with ‘Fly Paper’, this excellent tradition continues. All hail ‘Inside Out’, all hail ‘Tiles’. Please carry the prog rock fight to the world, and let’s look forward to the next Tiles album, maybe even a tour, guys?
Publication: Lords Of Metal
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Winston
And so it took no less than four years before a new Tiles album saw the light of day. Quite a long time, especially when you're a fan of course. But at least you know that they are fumbling on a new one and a new one never disappoints. Many prog metal bands are being compared to Dream Theater but with Tiles there's just one name that keeps rearing its' referential head and that is Rush. The later styled Rush that is. The band doesn't seem to mind that at all, in contrary because they booked Terry Date, a former Rush producer and furthermore Rush guitarist Alex Lifeson himself drops by in the song 'Sacred And Mundane'!
Even the album artwork is reminiscent but to say that Tiles is copy is way too far fetched. Bands like Jethro Tull, Iron Maiden and Queensrÿche are also mentioned as influential and they are well chosen I think. They chose for a more compact concept this time. Less focus on epics, shorter and more direct songs, translating the feeling of the band today I guess. Singer Paul Rarick doesn't have a unique voice to make Tiles unmistakeably recognizable. The trained listeners won't have any trouble recognizing this as a Tiles album. By the way; do-you-remember-her Alannah Myles sings in on 'Back And Forth', an unexpected surprise. The whole album is varied and with that very enjoyable. Not quite a super flashy album but in some way that wouldn't fit anyway with Tiles. Fan of the later Rush? Add 'Fly Paper' to your collection is my advise.
Publication: Glory Daze
Country Of Origin: USA
Review Date: February 2008
Reviewer: GlazeGod
Background:
Back in 2004 we threw the virtual pen at Tiles' fourth studio recording 'Window Dressing'. We noted all the Rush comparisons. Clever album titles combined with Hugh Syme like cover art. Terry Brown's involvement with the band (continuing here too I might add - with production duties), plus of course, all the Rush like musical comparisons - which for the most part might be considered a little unfair, but hey, when you live at the fountain of Xanadu it's inevitable that something similar will come out in the drink.. Progressive rock and the Motor City 'Detroit' to my way of thinking don't quite combine that well. Is it the oil and water thing? I don't know, but I always thought Prog was best heard coming out of British Cathedrals or small quaint villages in Norfolk or something. Whatever the case, Messrs Rarick, Herin, Whittle and now Evans (a previous member of Tiles I've been told), are doing their best to add another musical genre to come out of that fair city - other than MC5, Stevie Wonder plus all those other Motown cats and Bob Seger. Good luck to them. Firstly, gotta love the cover art. Very clever and witty. I wonder if Boeing will sit up and take notice? Secondly, eight tracks of tight unrelenting hard rock with a prog flavor - not the other way around. Big kudos for getting a name 'cast' of guests turning up to play. Good one Terry! Some Canadian heroes popped into the studio for some hang time, notably Alex Lifeson (Rush), Kim Mitchell and Alannah Myles.
The Songs:
One gets the impression that Tiles are willing to experiment a bit more than perhaps they did in the past. I don't think they have to prove anything to anyone but themselves, and it's in the quality of the new songs that judgment will be passed. The band are fusing elements which made Rush, The Police and to a lesser degree Kings X so popular. Take the first two tracks for instance: 'Hide In My Shadow' and 'Sacred And Mundane'.. you can certainly hear Rush influences in there, but it isn't a Rush song per se. 'Sacred And Mundane' by virtue of Lifeson's appearance would automatically be guilty by association but on deeper inspection, again this is not the case.. the song much more complex and percussive than most. 'Back And Forth' has a jangly appeal while 'Landscrape' is a virtual pot-pourri of sound with a combination of angst, moodiness, confusion and brashness all combined in one. By contrast, 'Markers' is as soothing as a pot of Chamomile tea for the first part, though we do eventually gravitate to the Gin by songs end! Probably one of the album's most challenging tracks is 'Dragons, Dreams And Daring Deeds'. This song never seems to settle, it is always on the edge, the relentless back-beat of drums keep things ticking over. 'Crowded Emptiness' is the most commercial offering on the album, fusing acoustic parts to subtle layers of keyboards. 'Hide And Seek' finishes up the album. At eight and a half minutes, Tiles demonstrate their chops for all to see circa 2008. Remember back in 2004, they put a 17 minute epic as their opening track. Thankfully they've resisted such temptations this time around, and kept it to half the time, though no less interesting.
In Summary:
At a whiff under 50 minutes, the whole album is easily digestible. With eight tracks only, there is no over-extension as one might expect from bands in this genre. To their credit, Tiles have kept this affair predominantly a guitar-based one, with no real over-use of keyboards. It's not stripped back to bare bones, but keys are used to supplement the sound rather than dominate. A pretty talented lot who have now been around since 1993.. fifteen years in the game and only five albums? What gives? This is looking remarkably like a case of Boston and Def Leppard like regularity of output.. haha.. just kidding!
Publication: Rock Report
Country Of Origin: Belgium
Review Date: February 2008
Reviewer: C.L.
First of all I’d like to thank Zane Petersen of CD Inzane (located in the US) for sending me a review copy of Tiles’ fifth studio album.
Tiles is a progressive rock band from Detroit, Michigan that takes its time to write and record an album. Fans of the band had to wait a little less than four years for this
follow-up of 2004’s “Window Dressing”, which was actually a quite dark and demanding progrock album. Band leader Chris Herin was aware of that too and wanted to continue in the
direction the band was heading at with the third album “Presents Of Mind” (1999). Says Herin: “We made a conscious attempt to keep our epic tendencies in check – since we had
thoroughly exorcised those demons on ‘Window Dressing’. We wanted ‘Fly Paper’ to have an accessible song-oriented, almost melodic rock focus.”
After having mixed “Fence The Clear” (1997) and “Presents Of Mind”, “Fly Paper” is the second album in a row, for which the services of producer Terry Brown were enlisted. Band
and producer have built up a strong working relationship by now and Brown “helped the band crafting a polished, yet organic recording”, as Herin puts it. As a result, the new
album sounds much more accessible and powerful (read: more guitars and less keyboards) than its ‘difficult’ predecessor.
The eight songs on “Fly Paper” are connected by a theme of human vulnerability. After having discussed the lyrics with cover artist Hugh Syme, he came up with this simple yet
disquieting (remember 9-11?) paper airplane that is floating over New York City. It’s another fine cover from my favourite cover artist of all times!
Guesting on “Fly Paper” are such luminaries as Rush’s Alex Lifeson (guitar on “Sacred & Mundane”), Sonya Mastick (percussion), Nate Mills (vocals on “Landscrape”), ex-Max
Webster’s Kim Mitchell (guitar on “Dragons, Dreams & Darling Deeds”), Alannah Myles (vocals on “Back & Forth”), Matthew Parmenter (keyboards on “Markers” and “Hide & Seek” and
vocals on “Crowded Emptiness”) and cover artist Hugh Syme (keyboards on “Crowded Emptiness” and the bonus track “Passing Notes”).
If I take all pieces of the “Fly Paper” puzzle together, I can only conclude that I’m happy that they didn’t produce another album like the last one. This album brings us back to
the Tiles of old times. I have the feeling that their next album will be the masterpiece I’ve been expecting for a long time now. We speak each other within a period of 4-5
years ;-)
Publication: Brave Words & Bloody Knucklest
Country Of Origin: USA
Review Date: February 2008
Reviewer: Martain Popoff
Detroit progsters Tiles have delivered an additional batch of Enchant-inflected Rush-fer-the’90s prog metal with finesse and organic texturing on this, their first album in four
years and their fifth overall. Fly Paper finds the band tightening their songwriting, with large influence on that front from Rush and Max Webster producer Terry Brown who turns
in a gorgeous, creamy sound picture for the band. Melodies are to the fore and there’s a sense of higher impact this time around, with the guys gathering up the likes of Alannah
Myles, Kim Mitchell and Alex Lifeson for guest slots. The guys make no apologies for the inevitable Rush comparisons, with Chris Herin capturing Lifeson’s polite electric sound
and even layering acoustics like Rush is wont to do in the ‘90s right up to the present. Nice range to the thing as well, as fave ‘Crowd[ed] Emptiness’ leans toward well-wishing,
soul-replenished Yes, and ‘Back And Forth’, when it hurdles the wall, has a playful reggae-tipped vibe to it. ‘Sacred & Mundane’ finds the band throwing their shoulder out, and
‘Landscrape’ features a carnal and marauding riff, but really, much of the rest of the album gathers around complicated electric pop metal, Tiles staking a terrain like no other
save for perhaps Spock’s Beard, even their heavy stuff sonically arranged on light footing. Vocally, I dunno, I always figure a vocalist is at a disadvantage when he’s way too
comfortably in his range, and Paul Rarick really doesn’t sound like he has to push much air – call the result an acquired taste, although ‘Landscrape’ is kind of a cool direction
for him.
Publication: Dutch Progressive Rock Pages
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Martien Koolen & Dave Sisson
Martien Koolen:
The Detroit based foursome Tiles have always been a much underrated band although they have already released two masterpieces of rock, namely Fence The Clear (1997) and Presents
Of Minds (1999). The music of Tiles can be described as a mixture of Queensryche, Jethro Tull, Iron Maiden, Primus, but foremost Rush. As a matter of fact I can say that if you
like Rush – like yours truly – then you will like Tiles and especially this album as well. This is also due to the fact that Fly Paper is produced by former Rush sound engineer
Terry Brown and this album really brings back memories of Rush’s Permanent Waves, which Brown produced and mixed back in 1980!!
This fifth studio recording of Tiles features eight new songs and the album really has an accessible song-oriented rock focus with lots of interesting guitar solos and passages.
Opening song Hide In My Shadow sets the tone with those typical Rush-like rhythms and melodies and this song almost has a catchy chorus. Sacred & Mundane shows a mandolin intro
followed by lots of nerve racking guitar riffs and a howling wah-wah guitar solo. As to the vocals I must say that singer Paul Rarick has a distinct hate-or-love voice, just like
Geddy Lee in fact ...
The two true musical highlights are: Back & Forth and Dragons, Dreams & Daring Deeds (nice title by the way). Both tracks are filled with great riffs, tempo changes, sparkling
guitar solos and even melodic choruses. There are guest performances by vocalist Alannah Miles (she sang Black Velvet), guitar player Kim Mitchell and Hugh Syme who plays
keyboards on two songs.
Fly Paper is definitely much better than the previous Window Dressing (2004), as it is more rock-oriented and much more multi-faceted. This new album is heavier, has more guitar
solos and the sound is absolutely powerful! Tiles is back at their high musical level which we already heard on previous albums and therefore I still consider Window Dressing as
a musical failure in the band’s history.
Advice: buy and enjoy at a very high volume!
Dave Sisson:
Detriot’s Tiles reach album number five with Fly Paper, and deliver a solid set of hard rock with progressive sensibilities which, whilst hardly likely to set the musical world
alight, will surely please their fans and also all devotees of their chief musical inspiration Rush.
I’m sure that longstanding Tiles fans are heartily sick of the Rush comparisons, and indeed, they are not mere slavish imitators, but Tiles do use the same producer (Terry Brown)
and cover artist (Hugh Syme), and on this occasion, they even have Alex Lifeson contributing guitar on one track. In the face of this, it would take a stronger man than me to
resist the obvious comparison.
Also guesting are Matthew Parmenter, Alannah Myles, Kim Mitchell and Hugh Syme. Syme contributes keyboards to two tracks, but perhaps he should have used his time on the cover
design, as it, disappointingly, could have been cribbed straight from the cover for the American edition of PFM’s late 70’s offering Jet Lag – Even if he’s never seen that
particular cover, the idea is not up to his usual imaginative invention.
My experience with Tiles is limited to their 2nd and 3rd albums only, but a quick glance around the net seems to show that they received a fair bit of criticism for the last
album, in particular for the seventeen minute opening track.
Perhaps with this in mind, Tiles keep things relatively short here, with the longest track only reaching a meagre 8:31. Unfortunately, this paring back has not resulted in the
classic album their fans crave to hear, and which I am sure they are capable of delivering. Fly Paper, whilst always entertaining and pleasant to listen to, never really takes
off (ahem!).
I’ve whiled away several hours with this album in the hope that its gems would become apparent, but nothing really ever stands out ahead of the pack. Sure, there are great
moments (I like the mandolin on the opening numbers), good riffs aplenty, and good melodies throughout, but I can’t point to even one great song. They never seem to break out of
the “good song” mould, which at this stage in their career they really should be able to achieve.
Sure, Rush fans will want to hear Sacred & Mundane and Lifeson is all over the track. It would stand up alongside the material on Snakes And Arrows with no trouble, but, again,
I’m afraid that, in my humble opinion, Rush too, rarely break into great material these days even if they never drop below the good level.
Not wanting to bash a talented and hardworking band, I’d like to end by emphasising that this is a good album, worthy of a place in any Tiles and Rush fans collections, with no
clunkers on board, but it’s not the great album we all want them to deliver.
Publication: Exclaim!
Country Of Origin: Canada
Review Date: February 2008
Reviewer: Chris Ayers
Detroit prog-rockers Tiles wear more than a few Rush influences on their sleeves: their fifth studio effort, Fly Paper, is produced by Terry Brown; the album cover is designed by
Hugh Syme (who also plays keyboards on two songs); guest axe men include Kim Mitchell of long=time Rush touring partners Max Webster; and Alex Lifeson himself lends a
“Limelight”-like solo to radio single “Sacred & Mundane.” Lead track “Hide in My Shadow” contains all the band’s signature licks (fluid bass, technical drums, etc.), which are
compared so often to Rush, but it’s not until “Back & Forth” (with backing vocals by Alannah Myles) that fans get palpable Rush (circa “Vital Signs”) melodies. “Dragons, Dreams &
Daring Deeds,” featuring Mitchell’s soloing, approaches Rush’s “Hemispheres” in several places, and the phrasing of “Landscrape” sounds like Rush’s Counterparts. The standout
“Markers” brandishes a “Natural Science” trigonometry without sounding dated or obsequious. Vocalist Paul Rarick doesn’t sound like Ged, though; his pipes are less nasal, like
Dream Theater’s James LaBrie or Styx’s Dennis DeYoung. Fly Paper is stately prog and the first truly great album of the year. (InsideOut/SPV)
Publication: Prog-Nose
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Danny
I mentioned the style as progmetal, because of the previous achievements of the band but this latest effort from Tiles should rather be catalogued under rock. So, no more concept
story, no more long tracks, although there are still two tracks of 8 minutes.
If they want to get rid of the comparisons people make with Rush, they certainly aren’t helping. First of all, Alex Lifeson is playing guitar on one track. The producer is Terry
Brown (Rush, Fates Warning) and Hugh Syme (Rush, Nevermore, Megadeth) is playing some keyboards.
“Hide in My Shadow” sets the tone for the rest of the album. Heavy (not metal) riffs in intros, bridges and verses, while most of the choruses are accompanied by acoustic rhythm
guitar. The songs contain some excellent rocking guitar solos and they called back their earlier drummer Mark Evans, who plays very straight heavy rock rhythms. Great instrument
control by all the musicians. It’s almost a pity, they added the vocals, because Paul Rarick isn’t the best of singers. Although I know he can do better , I don’t like his work
on this album. Just listen to “All She Knows” on “Window Dressing” or “Static” and “Modification” on “Presents of Mind” and you know what I mean.
“Sacred and Mundane” opens quietly with a folky Mandolin intro but quickly changes into a heavier track. The heavy riff is played by Alex Lifeson from Rush and so are all the
guitars on this track. The presence of Alex certainly brings the Rush sound along. Great song. But even without Alex, on the rest of the album, the Rush sound is always lurking
round the corner.
Alannah Miles worked with Terry on the three-part harmonies on “Back and Forth” and it certainly has paid off. A pity she didn’t help out on the rest of the album.
A beautiful duet by Matt Parmenter (Discipline) and Sonya Mastic opens “Markers”, accompanied by the percussion of the same Sonya. This is followed by a guitar solo, that could
be signed Gilmour. It’s a pity, it changes to a rock song after a while, because the intro suggested a superb semi-ballad. But I should still mention the great bass playing in
this rocky second part.
The most progressive track of the album is “Dragons, Dreams & Daring Deeds”. It contains a lot more variation than the rest of the songs, but is also built on a heavy rock
riff.
Conclusion: I’m missing the better vocals, the progressive music and complexity from previous albums and to have a bit more variation, this CD should have contained a ballad or a
quiet track. It’s a good rock album, but certainly not the best Tiles album.
Publication: Metal Express Radio
Country Of Origin: USA
Review Date: February 2008
Reviewer: George Fustos
Right from the start of the new Tiles release Fly Paper, it is quite obvious the album has many undertones of the band Rush incorporated into their latest work. As you get deeper
into the rest of the tracks, it will become even more apparent. Now, before anyone thinks they are copying Rush, that is not the case at all. In fact, even though they are highly
influenced on this release, the Tiles actually have a different kind of feel to their music. One interesting note is that while many different artists that make guest
appearances, seven to be exact, Alex Lifeson himself (from Rush-no kidding) does appear on the second track “Sacred And Mundane.” Terry Brown (producer and leading sound
engineer) approached Alex about making a guest appearance on the album. After listening to some of the new material, Alex liked what he heard and decided to take him up on his
offer. So, before Rush went out on their last Snakes And Arrows tour, Terry went to Alex’s studio and the two of them worked painstakingly to produce the magic one hears on the
track. The band was so impressed by the amount of work Alex put into the song, they said it was beyond and above the call of duty. What else can you expect from a musician from
Rush … come on now, really!
The band Tiles has been around for some time now, since 1993 to be exact. This is their fifth studio album, not to mention one live recording. The Tiles are a Detroit,
Michigan-based band and its members are Chris Herin (guitars), Mark Evans (drums), Paul Rarick (vocals), and Jeff Whittle (bass). This quartet can surely create some special
music, which fans of Prog-Rock will enjoy.
The album consists of eight phenomenal compositions, plus a bonus track that will be on the initial pressing. Besides Alex Lifeson doing his magic on “Sacred And Mundane,” there
is vocalist Alannah Myles on “Back And Forth,” Hugh Syme playing keyboards on “Crowded Emptiness” and “Passing Notes” (the bonus track), and guitarist Kim Mitchell on “Dragons,
Dreams & Daring Deeds.” The band also had a few other friends join in to contribute their talents: Sonya Mastick on percussion, Matthew Parmenter on keyboards, plus a vocal cameo
from Nate Mills.
“Hide And Seek” is the longest track on the album at 8:31 minutes and probably the most intense stylistically. Arrangement-wise, it's probably the most difficult to play with all
the time variations and changes throughout -- a true Rush type compilation if there ever was one.
Fly Paper is fresh, creative, intriguing, lyrically emotional and powerful, musically impressive and talented, and incredibly suitable for today’s world. This quartet has done
something unique here and it's definitely worth picking up and giving it a listen. If you love Prog-Rock or Prog-Hard Rock with some subtle Melodic undertones here and there, or
if you are a huge fan of Rush, then this is a must. Put it on your list at once!
Publication: Room Thirteen
Country Of Origin: USA
Review Date: February 2008
Reviewer: Paul Chesworth
If you’ve never heard of Tiles, where have you been living for the last fifteen years. Founded in 1993, Detroit based Tiles is made up of Chris Herin (Guitar), Paul Rarick
(Vocals), Jeff Whittle (Bass), and Mark Evans (Drums).
‘Fly Paper’ is Tiles latest and fifth album, and has been a while in coming. Mark Evans, once original drummer, returns to the stool to replace the departed Pat DeLeon. It’s a
good thing Mark came back to the fold as comparisons to Spinal Tap would be made.
Anywho, Tiles have been rightly or wrongly tagged with being ‘Rush’ clones. Some may say rightly so, especially when such luminaries as Terry Brown (Rush producer, also Fates
Warning), Hugh Syme (Keyboards and past Rush artist aplenty) are involved in the project. Even utilising Brown’s address book to utilise Alex Lifeson on ‘Sacred & Mundane’
But also wrongly so as Tiles make reference to other progressive masters, Pink Floyd, Jethro Tull and even Queensryche, Porcupine Tree and Dream Theater. The songs can be
perceived either way, but in my opinion they are a very strong collection of songs worthy of any band, let alone Rush. Dare I say it, even messrs Peart, Lifeson and Lee would be
proud to have written some of the songs on offer.
Tiles also carry on the tradition dating back to their 1999 cd ‘Presents of Mind’ brining in other guest musicians. ‘Fly Paper ‘ features an impressive roster of special guests
including Alannah Myles on vocals, Kim Mitchell (Max Webster) and Alex Lifeson (Rush) on guitar; Hugh Syme on keyboards; Matthew Parmenter (Discipline) keyboards and vocals (not
for the first time, and is almost becoming a fifth member of the band); and Sonya Mastick on percussion.
The cd kicks off with the excellent ‘Hide In My Shadow’ a choppy riffed intro, moving to acoustic, with Paul’s layered vocals suiting the song excellently with a melodic chorus.
Lifeson picks up the lead on ‘Sacred and Mundane’ with a definite Canadian influence, acoustic at first, then hard hitting with a distorted wall of sound, featuring the
unmistakeable Lifeson guitar sound. Alannah (Black Velvet) Myles helps out with her distinctive sound on ‘Back and Forth’., before one of the highlights for me, as its one of the
heaviest songs Tiles have ever performed in the play on words, ‘Landscrape’ complete with moody, heavy riffs, and a good choice for a second single. The second half is as equally
as impressive as the first, ‘Markers’ defines the band, showing their diversity. ‘Dragons, Dreams, and Daring Deeds’ is expansive and ‘Hemishperes’-like in its sound. Final
track ‘Hide & Seek’ is the albums longest track, and contains a hidden bonus track which isn’t on this promo. The song is a delight and changes pace at the 3:27 minute mark,
lighter, technical, with great guitar interplay with Paul’s vocals.
Weakness is not a work in Herin’s dictionary. All songs are powerful and should be on any rock fans wish list. Hell, I got the promo for nothing, and I’m still going to buy
it.
Tiles have given us an album, which is proggy, both melodic and heavy in places, subtle and gentle in others, polished all round and even managing to be ‘stripped down’ in the
process taking me to the late 70’s and beyond and similar to ‘Permanent Waves’ in its approach. 2007 was a great year for progressive rock, and Tiles ensures 2008 gets us off to
the same great start.
Tiles have enough style and panache to stand on their own two feet. As a label ‘Inside Out’ have a roster of bands to be damn proud of, and I cannot think if a previous release
over the past couple of years I did not like, and with ‘Fly Paper’, this excellent tradition continues. All hail ‘Inside Out’, all hail ‘Tiles’. Please carry the prog rock fight
to the world, and let’s look forward to the next Tiles album, maybe even a tour, guys?
Publication: Lords Of Metal
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Winston
And so it took no less than four years before a new Tiles album saw the light of day. Quite a long time, especially when you're a fan of course. But at least you know that they
are fumbling on a new one and a new one never disappoints. Many prog metal bands are being compared to Dream Theater but with Tiles there's just one name that keeps rearing its'
referential head and that is Rush. The later styled Rush that is. The band doesn't seem to mind that at all, in contrary because they booked Terry Date, a former Rush producer
and furthermore Rush guitarist Alex Lifeson himself drops by in the song 'Sacred And Mundane'!
Even the album artwork is reminiscent but to say that Tiles is copy is way too far fetched. Bands like Jethro Tull, Iron Maiden and Queensrÿche are also mentioned as influential
and they are well chosen I think. They chose for a more compact concept this time. Less focus on epics, shorter and more direct songs, translating the feeling of the band today I
guess. Singer Paul Rarick doesn't have a unique voice to make Tiles unmistakeably recognizable. The trained listeners won't have any trouble recognizing this as a Tiles album. By
the way; do-you-remember-her Alannah Myles sings in on 'Back And Forth', an unexpected surprise. The whole album is varied and with that very enjoyable. Not quite a super flashy
album but in some way that wouldn't fit anyway with Tiles. Fan of the later Rush? Add 'Fly Paper' to your collection is my advise.
Publication: Glory Daze
Country Of Origin: USA
Review Date: February 2008
Reviewer: gdazegod
Background:
Back in 2004 we threw the virtual pen at Tiles' fourth studio recording 'Window Dressing'. We noted all the Rush comparisons. Clever album titles combined with Hugh Syme like
cover art. Terry Brown's involvement with the band (continuing here too I might add - with production duties), plus of course, all the Rush like musical comparisons - which for
the most part might be considered a little unfair, but hey, when you live at the fountain of Xanadu it's inevitable that something similar will come out in the
drink.. Progressive rock and the Motor City 'Detroit' to my way of thinking don't quite combine that well. Is it the oil and water thing? I don't know, but I always thought Prog
was best heard coming out of British Cathedrals or small quaint villages in Norfolk or something. Whatever the case, Messrs Rarick, Herin, Whittle and now Evans (a previous
member of Tiles I've been told), are doing their best to add another musical genre to come out of that fair city - other than MC5, Stevie Wonder plus all those other Motown cats
and Bob Seger. Good luck to them. Firstly, gotta love the cover art. Very clever and witty. I wonder if Boeing will sit up and take notice? Secondly, eight tracks of tight
unrelenting hard rock with a prog flavor - not the other way around. Big kudos for getting a name 'cast' of guests turning up to play. Good one Terry! Some Canadian heroes popped
into the studio for some hang time, notably Alex Lifeson (Rush), Kim Mitchell and Alannah Myles.
The Songs:
One gets the impression that Tiles are willing to experiment a bit more than perhaps they did in the past. I don't think they have to prove anything to anyone but themselves, and
it's in the quality of the new songs that judgment will be passed. The band are fusing elements which made Rush, The Police and to a lesser degree Kings X so popular. Take the
first two tracks for instance: 'Hide In My Shadow' and 'Sacred And Mundane'.. you can certainly hear Rush influences in there, but it isn't a Rush song per se. 'Sacred And
Mundane' by virtue of Lifeson's appearance would automatically be guilty by association but on deeper inspection, again this is not the case.. the song much more complex and
percussive than most. 'Back And Forth' has a jangly appeal while 'Landscrape' is a virtual pot-pourri of sound with a combination of angst, moodiness, confusion and brashness all
combined in one. By contrast, 'Markers' is as soothing as a pot of Chamomile tea for the first part, though we do eventually gravitate to the Gin by songs end! Probably one of
the album's most challenging tracks is 'Dragons, Dreams And Daring Deeds'. This song never seems to settle, it is always on the edge, the relentless back-beat of drums keep
things ticking over. 'Crowded Emptiness' is the most commercial offering on the album, fusing acoustic parts to subtle layers of keyboards. 'Hide And Seek' finishes up the album.
At eight and a half minutes, Tiles demonstrate their chops for all to see circa 2008. Remember back in 2004, they put a 17 minute epic as their opening track. Thankfully they've
resisted such temptations this time around, and kept it to half the time, though no less interesting.
In Summary:
At a whiff under 50 minutes, the whole album is easily digestible. With eight tracks only, there is no over-extension as one might expect from bands in this genre. To their
credit, Tiles have kept this affair predominantly a guitar-based one, with no real over-use of keyboards. It's not stripped back to bare bones, but keys are used to supplement
the sound rather than dominate. A pretty talented lot who have now been around since 1993.. fifteen years in the game and only five albums? What gives? This is looking remarkably
like a case of Boston and Def Leppard like regularity of output.. haha.. just kidding!
Publication: Progressive World
Country Of Origin: USA
Review Date: February 2008
Reviewer: Stephanie Sollow
Let's get this out of the way at the outset. Tiles sound like Rush. Classic Rush to be sure, as there's a certain 80s-era Rush feel to the whole affair. Even still, it doesn't feel as if they're stuck in some long gone era, but rather as if they've kept pace with Rush. That is, as modern as Rush have made their sound, so have Tiles on their sixth album (not including reissues), Fly Paper. Yes, they have Terry Brown sitting in the producer's chair and that has a lot to do with it. On the other hand, Brown also produced Cutting Crew, who, to my recollection, did not sound like Rush. So, I'd venture to say it's only one part Brown, four parts Tiles.
The presence of bass (Jeff Whittle) is quite integral to the whole sound of the band, as with Rush, more so perhaps than most bands. On the other hand, Chris Herin's guitar style owes a lot to Alex Lifeson, who guests on this album, on "Sacred & Mundane," a scorching rocker that puts fiery guitar right at the forefront. To employ another cliché, this asserts itself right in your face, takes no prisoners, and tells you that Tiles is a force to be reckoned with. It's a highlight track on an album that is filled with more highlights than not.
So, let me also get this out right at the outset, this is the freshest and liveliest that Tiles have sounded since Presents Of Mind. Sure, there was only one studio album in between, Window Dressing, but that was, to me, a lackluster attempt. Maybe it had to do with some internal politics going on within the band, I don't know; that they all felt obligated to "get it out" to meet some sort of commitment. Truly, I don't know; this is all just my speculation. But something I sensed when I saw them live in 2005 made me feel that way. And drummer Pat DeLeon, who appeared on the band's last two albums - PoM and WD, left the band in mid-to-late 2005. Behind the kit now is Mark Evans, the band's original drummer who had been with Tiles for their first two albums, the self-titled debut and Fencing The Clear.
Well, lively might be an overstatement when it comes to Paul Rarick, the vocalist. His delivery is often understated, drowsy, though sometimes soaring, too, and falls somewhere in between Geddy Lee and James LaBrie… but not exactly like either.
There are some really fabulous moments on Fly Paper, such as "Markers" which goes from delicate, reflective ballad -- lots of great percussion details to go along with acoustic guitar and lacy electric lines -- to grinding mid-tempo rocker. What comes through here, on this track and the whole album, that didn't on their last outing was a full band dynamic. Maybe I was put off enough I didn't get to deep into the mix, I don't know; but here, the interplay between guitar, drums and bass is so rich. Of course, I did feel on WD that the instrumentation was the highlight; it remains true here. Again, not that I don't like Rarick; I do and more so here than on WD (and as much as on PoM).
The instrumental opening to "Dragons, Dreams and Daring Deeds" also best exemplifies why, like Rush, Tiles isn't just a hard rock band, but a progressive hard rock band, with complex and interesting arrangements. Although not the longest track, it is the one that has the most "sprawling epic" feel. And perhaps the point where they sound the most like late 70s/80s period Rush.
There are a couple of pieces that hark back to an earlier time, and not of … that certain Canadian trio. That is, there's a Beatles/60s-esque rock style, only heavier, in "Back & Forth." Listen to the vocal harmonies of the chorus and background "ahs," acoustic guitar textures, and groovy rhythm; all these make this a standout track on this album. In fact, it is enlivened by a brighter vocal performance from Rarick. Although it comes as track 3 here, this will likely be a set closer; it just as that warm fuzzy feel without being of the cute warm fuzzies variety. I mean, it rocks, and rocks hard, but those harmonies just give it that companionable feel that comes at the end of set where band and audience have bonded. No, not a cigarette lighter moment, but certainly a sing-a-long moment. A great moment too is the rave up at the end, launched by a cool drum tattoo - a foot tapping, air-drumming, air-guitaring moment.
The other "flashback" is "Crowded Emptiness" which has an open and breezy feel, perhaps because of the lighter feel of acoustic guitars, the lighter percussive touch. This brings about a 70s feel, though I can't exactly pin down a specific reference… I'll just throw out some thoughts - Yes, Kansas, Supertramp, Eagles. All those wrapped into one and something more and that's what is remaining elusive at the moment.
"Landscrape" is an abrasive, muscular, growly and snarly track full of the grinding guitars that have become modus operandi here. And by abrasive, I mean it's rough like sandpaper; like sliding down a rocky outcropping. Oh, but Rarick gets to soaring here so prettily, that it's like a momentary salve on some very raw wounds. By the way, I like this track, so all this positive commentary. You may feel that you've been ripped to shreds when the song ends, but you're grinning.
Closer "Hide & Seek" has a single potential - if this type of music has "single potential" anymore. It's groovy and catchy, while at the same time a ballsy rocker - throaty bass, driving guitar, punchy drums, and nice vocal (and very LaBrie like). It's a beefy ballad, actually, yet not soft and wimpy -- even when we get a pastoral interlude - a swell of keys, acoustic guitar, and whispered vocals. Nope, just listen to the crying guitar solo from Herin that follows backing by a strutting bass line from Whittle. Or the bluesy guitar solo that follows a few moments later; sharp, crisp notes, white hot, that just defy any clever metaphor. Herin's not just playin' it, he's feelin' it, and making you feel it, too. Very cool and an excuse to hit "play" again.
Thematically, the album is "[c]entered along themes of 'human vulnerability'. The lyrics explore how people must continually ward off threats to their well-being (even from within) - and the emotional range experienced co-existing with friends, family and the world at large," according to the press release. Because the promo version does not include lyrics, I can't share my thoughts on their sentiments or point of view -- though I've added the "release version" to my purchase list so you may yet see an addendum to this review. I'll say this however, the lyrics may be about vulnerabilities, but the album itself is rock solid and solid rock.
Flaws? Well, to my ears, the throaty beginning to opening track "Hide In My Shadow" lasts just a cycle or two too long… and I do want to comment here, though it's not a flaw, that the very first notes on "Hide…" make me think of opening riff to John Mellencamp's "Authority Song," before the grinding, throaty guitar phrases kick in. Things do throttle back for Rarick's taunting vocal delivery… though the chorus is pretty gloomy (one line goes "brick by brick I build my tomb"). Another flaw is that perhaps the throaty, grinding feel is a bit overused, not that tracks sound at all alike… but, some might find that it's an overused…feel or effect.
When all is said and done, this is an excellent back-to-form release for this band. The "flaws" are so minor and perhaps so particular to just me (maybe?), that what will be remembered is that this is strong, appealing release that will be a strong contender for, if not the best-of for 2008, certainly as one of the highlights for the year.
Publication: All Metal Resource
Country Of Origin: Unknown
Review Date: March 2008
Reviewer: Unknown
Tiles, a Detroit based prog group, takes the route less traveled amongst American prog metal. It seems these days bands either attempt to take the route closer to the likes of power metal, or they go in a more assertive direction ala Between the Buried and Me. In fact, one could say that calling Tiles’ latest effort Fly Paper more rock than metal, would potentially have a good argument. However, in my not so humble opinion, Tiles has produced a great record with some strong metal moments; that alone makes covering this album worth it.
If pressed, I would pinpoint the Tiles sound as a cross between Alice in Chains (specifically with vocalist Paul Rarick sounding a tad like Layne Staley), The Cult, and Dream Theater. Odd combination right? Well, isn’t that what prog rock/metal is supposed to be about? I’m sure there are even more sounds that can be derived, but chew on that combo for a bit, and if you like that possibility, keep reading.
Fly Paper represents a laid back approach to prog. Far too often, prog metal takes the approach of needing technique and speed in order to push the boundaries of their version of what “progressive” means, when in actuality, progression is pushing the boundaries of traditional songwriting to new levels. Bands like Yes, RUSH, and even Iron Maiden and Judas Priest have made their mark by pushing progressive approaches to their art. In that respect, Tiles really hasn’t created an “against the grain” album, but what they have constructed works. Fans of Spock’s Beard will immediately recognize the laissez faire approach of Tiles, sometimes bordering on smooth jazz during a few moments (”Markers” is a good example of this, and is one of the best songs on the album). Again, some will say this isn’t metal, but that is a subjective term. Tiles, while not mimicking even Dream Theater in heaviness, know how to maintain a sense of attitude and atmosphere throughout their music, which is just as metal as the dingiest death metal.
Overall, fans of true prog will dig what Tiles has put out. Having been around since 1993, this band is not exactly new to the scene, but their sound isn’t what will be knocking down doors in the mainstream metal community either. I enjoyed this album quite a bit, but because of its moody flavor, Fly Paper wouldn’t be suggested for head banging and busting heads in a moshpit. However, if you crave that atmospheric album that really hits the spot for that long car ride, or that rainy day, then do yourself a favor and give Fly Paper a try.
VERY GOOD
Publication: Earshot
Country Of Origin: Germany
Review Date: March 2008
Reviewer: Mike
Progressiven Hard Rock bekommt man von TILES aus Detroit auf ihrem aktuellen Album „Fly Paper“ geboten. Bei der Scheibe handelt es sich bereits um die fünfte Studioveröffentlichung der 1993 gegründeten Band. Leider kenne ich die Vorgängeralben nicht, dem Infozettel ist jedoch zu entnehmen, dass die Band auf dem Album verglichen mit dem Vorgängerwerk „Window Dressing“ ihre epischen Tendenzen bewusst in Grenzen hielt und die Scheibe sehr songorientiert klingt, was ich beim Hören nur bestätigen kann. Auf allzu komplizierte Songstrukturen wird verzichtet und mehr Wert auf Eingängigkeit gelegt. Zwar tendiert man nicht so stark in die AOR-Schiene wie die Labelkollegen SAGA teilweise auf deren letzen Album, trotzdem klingt das Ganze zeitweise schon fast nach klassischem Melodic Rock. Einzelne Highlights herauszugreifen fällt mir bei den meisten Alben aus dem Progressive-Bereich schwer, „Fly Paper“ bildet da keine Ausnahme, da die Songs am Stück gehört ihre Wirkung am besten entfalten. Es sei auch noch erwähnt, dass eine ganze Armada von Gastmusikern auf „Fly Paper“ mitwirkten, wobei Alex Lifeson (RUSH) sicher der bekannteste darunter ist.
TILES ist mit „Fly Paper“ ein überzeugendes Progressive Rock-Album mit starker Melodic Rock-Schlagseite gelungen, welches Anhängern von SAGA, RUSH, PORCUPINE TREE und auch DREAM THEATER sicherlich zusagen wird.
Publication: The Pit
Country Of Origin: Germany
Review Date: March 2008
Reviewer: Sascha Hennenberger
Wer an Prog Rock bzw. Prog Metal denkt, dem kommt dabei unweigerlich Rush, Dream Theater, Genesis, Porcupine Tree oder meinetwegen auch an Pain of Salvation, Death und Atheist in den Kopf. Dabei bedient man sich auch gerne dieser Namen, wenn es um Vergleiche geht. Bands aus diesem Muster haben es dabei meist sehr schwer, da manchen dabei die Orientierung fehlt.
Tiles aus den Vereinigten Staaten, die sich bereits 1993 gegründet und mittlerweile mit „Fly Paper“ ihr fünftes Album veröffentlichen, ist hierbei so eine Band, allerdings hat das Quartett dabei seinen eigenen Sound gefunden, der sich nach Eigenangaben aus Rush, Queensryche, Saga und Iron Maiden zusammenstellt.
Im Vergleich zum relativ düsteren Vorgängeralbum „Window Dressing“ (2004) erscheint „Fly Paper“ um einiges positiver. Zwar ist stellenweise noch eine leicht melancholische, bedrückende Stimmung zu vernehmen, aber Songs wie „Back and Forth“ (hier konnte man die bekannte Sängerin Alannah Miles einen Gastbeitrag abzugeben) oder „Crowded Emptiness“ (featuring Hugh Syme an den Keyboards) klingen ja fast schon radiotauglich.
Doch gibt es auch Verweise in die Vergangenheit, wenn es bei Stücken wie dem herausragenden „Sacred and Mundane“ (bei dem kein geringerer als Alex Lifeson von Rush ein Stelldichein abliefert), „Landscape“ oder der bedrückend, melancholischen Ballade „Markers“ (die sogar ein wenig an die Genrereiter Dream Theater erinnert) wieder deutlich düsterer klingen.
Allerdings Achtung: Richtig fette, mega verzerrte Gitarren sucht man hier vergeblich. Wer also wie bei Dream Theater und Konsorten auf ´ne breite Gitarrenfront hofft, tut dies vergebens, denn Tiles zählen hierbei deutlich zum Prog Rock, das sollte man nicht vergessen.
Mal davon abgesehen, zeigt man sich auf „Fly Paper“, das übrigens mit einem coolen Cover von Hugh Syme veredelt wurde und leicht provokant bezüglich dem Thema 11.09.2001 sein soll, sehr abwechslungsreich; zeigt sich sowohl eingängig als auch verspielt, fröhlich und melancholisch, direkt und komplex, was aber letztendlich auch die Stärke des Albums ist.
8 Songs des Kalibers „Hide in my Shadow“ wären dabei wirklich zu viel des Guten und zu anstrengend gewesen. Neben den bereits oben erwähnten Gastmusikern ist übrigens auch noch der kanadische Solo-Gitarrist Kim Mitchell bei dem Song „Dragons, Dreams and Daring Deeds“ zu hören. An renomierten Gastmusikern mangelt es auf „Fly Paper“ also keineswegs.
Fazit: Tiles haben hier ein starkes Prog Rock Album abgeliefert, das zwar bei Fans der härteren Variante progressiver Klänge etwas mehr Anlaufzeit benötigt, aber dennoch viel Spaß bereiten kann, da die Songs ebenso gut klingen, um es mal ganz banal auszudrücken. Wer nicht viel Wert auf verzerrte, megafette Gitarren legt, sollte hier auf alle Fälle mal ein Ohr riskieren und „Fly Paper“ eine Chance geben.
Publication: Metal Cry
Country Of Origin: Unknown
Review Date: March 2008
Reviewer: David Rodrigo
Toca hablar de uno de los grupos que han pasado más inadvertidos y han sido más menospreciados de los últimos años: Tiles. Digo esto porque un grupo de la calidad de Tiles, capaz de ofrecer unas canciones tan variadas y entretenidas, llenas de feeling y genialidad compositiva, se merece tener un reconocimiento mucho mayor. Buena prueba de su valía es la gira que hicieron junto a Dream Theater. Creo que esto lo dice casi todo.
Tras el fantástico trabajo que fue “Window Dressing”, Tiles presentan en este comienzo de año su nuevo trabajo, “Fly Paper” y lo hace desde la más pura madurez musical. La estructura de las canciones, su detalles, demuestran un enorme trabajo sobre el papel, que queda bien plasmado en temas de la talla de “Hide In My Shadow” o “Crowded Emptiness”.
“Sacred & Mundane” cuenta con un dinamismo impresionante y la fuerza de “Landscrape” dejan muy claras las posibilidades de una formación que, teniendo en cuenta su trabajo anterior, tiene poco que demostrar. Sus discos hablan de músicos virtuosos, compositores capaces y una gira junto a Dream Theater es señal de un buen directo.
Cuando llega el turno de “Dragons, Dreams and Daring Deeds” (que por cierto es impresionante) nos hayamos plenamente convencidos de estar escuchando a un grupo de categoría. Aunque no es excesivamente difícil distinguir algunas influencias en su sonido, como Rush o los propios Dream Theater, Tiles hace gala de un sonido en general bastante reconocible.
El disco lo cierra “Hide & Seek” bastante oscura y potente, más fácil de asimilar que la mayoría de sus antecesoras, a pesar de sus ocho minutos y medio de duración. Un tema muy bien estructurado y con una composición muy coherente y efectiva.
Si hay algo que se le pueda criticar al disco es sin duda la producción, que está lejos de ser mala, pero aún así no hace justicia al trabajo realizado en los temas.
Definitivamente, todo aquel que disfrute del rock y el metal progresivo no puede dejar pasar la oportunidad de escuchar “Fly Paper” ni de profundizar en la carrera de un grupo que espero pueda dar muy buenos momentos en un futuro próximo.
Publication: RushMessageBoard.com
Country Of Origin: USA
Review Date: May 2008
Reviewer: Andy Hatzos
It's no secret that Window Dressing was not universally well-received by the press. Much of the criticism was directed at the fact that the songwriting stretched out a bit – drawing from a large source pool of styles, and featuring a few long, complex tracks. While I understand some of the criticisms, I have never totally agreed with them. Window Dressing was a "grower" album that took me a while to get into, and I wonder if too many people gave up on it too easily. Once I was in, it was smooth sailing through a diverse album that featured some of Herin's best songwriting – especially on some of the longer numbers.
Drummer Pat DeLeon left after Window Dressing, and after a bit of a search, Tiles brought back Mark Evans to fill the slot. Evans played on Tiles' first three albums, so it was a homecoming of sorts. This provided a perfect transition for the band. While DeLeon's energy behind the kit will be missed, Evans' style is highly skilled, powerful, and also quite controlled. This fit was perfect for a band that was consciously looking to return to a more simplified sound – yes, one that is reminiscent of the albums released during Evans' first tenure with the band.
Despite the change in stylistic approach from Window Dressing to Fly Paper, one thing that has continued to develop – to a high degree of definition at this point – is the "Tiles" sound. This is meant as a high compliment. More than any of the influences present in their music, the sound is distinctly their own. Traces of this can be heard as far back as the self-titled debut, but Fly Paper has solidified it. The building blocks come from Herin's approach to the guitar – paying lots of attention to specific chord voicings, and tonal quality. Whittle's bass work adds much to the mix – he remains busy, which adds a lot of kinetic energy. He also uses a five-string, giving a bit of extra reach on the low end that adds distinction to the production and fills the sound out well.
Fly Paper features an array of guests; I won't name them all here, as I usually like to focus on the work of the band members themselves. Credit is due to Matthew Parmenter (Discipline), a long-time Tiles collaborator, who adds keys and vocals in a few spots. Of course, the Rush fan will undoubtedly be drawn to the list of credits in the CD booklet. Yes, Terry Brown produced the record. Yes, Hugh Syme designed the art (and plays keys in a couple of places). Finally, yes, Alex Lifeson himself threw down a bunch of guitars on the album's second cut, "Sacred and Mundane."
"Sacred and Mundane" is a standout track on the album; powerful, punchy, and catchy. Lifeson's work is dynamite, but the song is pure Tiles from start to finish – simply with another fresh set of ideas layered in to add to the arrangement.
Two other tracks that stand out are "Markers" and "Hide and Seek." "Markers" is a three-part suite that moves through a series of different feelings. Starting off slow and thoughtful, the song's middle section is as intense as just about anything else on the album. The closing section features some great interplay between Whittle, Herin, and Evans, as they move through a series of building chord changes. On one of the final runs through the pattern, a fast snare roll matches up with the start of a soaring guitar lead – no doubt reminiscent of the end of "Death of Mother Nature Suite" by Kansas.
"Hide and Seek" closes the album proper, with a main riff that indeed is a bit reminiscent of "The Spirit of Radio". The chorus features some great layering of guitar, vocal, and bass work – the harmonies and chord changes are spectacular. As the song progresses toward its middle and ending sections, the overall mood and tempo changes in the composition remind me a lot of a shortened-up "Checkerboards." ("Checkerboards," found on the second album Fence the Clear, is far and away my favorite Tiles song – so that's a good thing.)
Elsewhere, "Back and Forth" features some fun guitar work during the verses – one of the best riffs on the album. "Hide In My Shadow" opens the album with some punchy guitar licks, which are built upon as the track goes on. The guitar tone throughout the song is a little muddy in places, but the delivery is powerful and striking. The bonus track, "Passing Notes," is a touching piano ballad written by Whittle in memory of his mother. The poppy "Crowded Emptiness," with a sonic arrangement that strikes my ear as a bit awkward at times, may be the one average track on the album – but it's not bad. The production across the album is rich and full – with guitars in the forefront from cover to cover.
Lyrically, the album tackles themes relating to frailties, vulnerabilities, and dependencies that affect everybody. The artwork and album title were designed to fit in with the concept – a fragile paper airplane soaring over a bustling city. (Note that this is also the fourth consecutive album title to feature some sort of word play). Paul Rarick puts in a great performance, bringing the lyrics to life. His vocal style is atypical from that of a standard rock band's vocals, but it fits well with an ambitious band that straddles the lines between progressive rock, hard rock, metal, and pop. Rarick has had his critics, but the irony of the fact that there have been complaints about his vocal style on a Rush message board is not lost on me – lest I remind the fans that 90% of the music press dislikes Geddy Lee for the same illegitimate reasons.
Fly Paper is a great album by a skilled band – a band who has honed their craft into something distinctive and unique. Above all else, this is an album full of clever, creative, progressive hard rock.
Publication: MetalUnderground.com
Country Of Origin: USA
Review Date: April 2008
Reviewer: PorcupineTreeFan
In the world of modern prog-rock, bands like Dream Theater, Porcupine Tree, etc. have caught the attention of many old and new fans. Tiles is not nearly as well-known as the previously mentioned bands, but they have the prog-rock style down as well as the rest of them. Their prog style is unique because their music contains elements of both Black Sabbath and Led Zeppelin, yet they still manage to create their own sound. Tiles is not too hard on the ears, and would surely please both the older generation of prog heads as well as the new generation. The only thing I have a slight issue with is that the production/sound of the album is a little weak.
The first track, "Hide In My Shadow," does not waste any time getting the listener engaged in their sound. It proves to be a memorable track in its own right, but not as amazing is the track to follow, "Sacred and Mundane." The rest of the tracks flow nicely offering enough unique tracks to keep the listener engaged from start to finish, which should be the goal of any band. Another memorable song is "Landscrape." This track is a head-banging song, and even though it's nearly the shortest track, its riffs are a good time. "Markers" may be the most progressive of the song on "Fly Paper." "Hide and Seek" is an awesome closer, which ends heavy on the guitars, leaving the listener satisfied when it is all said in done.
Tiles is a unique prog-rock band with a heavy influence of old school hard rock. They have their fair share of guitar solos and riffs with plenty of melodic tones throughout the album. The production may seem a little weak, but it does give an old school sound to the album. If you enjoy old Sabbath, Rush, Zeppelin, or some of the more modern prog bands like Porcupine Tree, then you should give this band a try. Even if you don't like prog, per se, and you’re more of a straight-up hard rock listener, Tiles could still catch your attention with this release.
Publication: Metal.de
Country Of Origin: Germany
Review Date: February 2008
Reviewer: Dieser Artikel
Besser kann man ein Cover-Artwork nicht gestalten! Sticht einem zunächst vor allem die Doppeldeutigkeit des Wortes "Fly Paper" ins Auge, werden bei genauerer Betrachtung die politischen Dimensionen des Motivs deutlich. Ein Papierflieger über New York - völlig harmlos und unbedeutend, aber seit dem 11. September 2001 dennoch der Inbegriff einer verborgenen Bedrohung. Vielleicht stellt auch der Inhalt der Zeitung, aus der das fliegende Objekt gefaltet wurde, den entsprechenden Sprengstoff dar.
Einige der tiefgründigeren Interpretationsmöglichkeiten eröffnen sich dem Betrachter erst auf den zweiten oder dritten Blick. Das Gefühl menschlicher Verwundbarkeit transportiert das in düsteren Farben gehaltene Bild jedoch vom ersten Moment an. Hier wird nicht mit Plakativität gearbeitet, sondern mit scheinbarer Schlichtheit, eindringlich statt aufdringlich. Das ist auf seine Weise ganz große Kunst!
Doch eigentlich sollte der Schwerpunkt dieser Rezension auf der anderen, der musikalischen Kunstfertigkeit der Band liegen. Und auch die kann sich durchaus sehen lassen. TILES geben eine exzellente Mischung aus progressiver Rockmusik und vereinzelten Metal-Einsprengseln zum Besten, meist ausgesprochen melodisch und immer songorientiert. Wildes Instrumentalgefrickel sucht man hier vergeblich, die gitarrenorientierten Kompositionen sind straff gehalten und ufern selbst in den beiden Achtminütern "Dragons, Dreams & Daring Deeds" und "Hide & Seek" nicht aus. In Szene gesetzt wird das Ganze von Produzent Terry Brown, der unter anderem bereits mit RUSH gearbeitet hat und für einen gleichermaßen klaren wie natürlichen Sound sorgt. Stellenweise würde man sich etwas mehr Druck wünschen, ansonsten gibt es jedoch an der Aufnahmequalität nichts auszusetzen. Vermutlich dürfte Terry Brown auch den Kontakt zu Alex Lifeson hergestellt haben. Der RUSH-Gitarrist veredelt "Sacred And Mundane" mit seinem charakteristischen Gitarrenspiel.
Mit namhaften Gastmusikern hausieren zu gehen, haben TILES dabei eigentlich nicht nötig. Die Mannen um Gitarrist und Hauptsongschreiber Chris Herin verstehen ihr Handwerk und bringen ihre Songs hervorragend auf den Punkt. Catchy Hooklines dominieren das Geschehen, was im Falle von "Crowded Emptiness" sogar bis hin zu radiotauglichem Pop-Appeal reicht, ohne dadurch in allzu seichte Gewässer abzudriften. Das Niveau bleibt stets gewahrt.
Vielleicht mag der ein oder andere Song nicht hundertprozentig zünden. Vielleicht hätte die Band auch den Härtegrad durchaus noch ein wenig steigern können. Wer jedoch klassischem Prog-Rock voller Melodien, Herz und Verstand etwas abgewinnen kann, der sollte dieses Album einmal anchecken. Denn hier wurde mit viel Liebe zum Detail vorgegangen und - im Gegensatz zu vielen Genre-Kollegen - von überladenen Liedungetümen deutlich Abstand genommen. Ein starkes Album - und für das eingangs erwähnte Cover-Artwork gibt's noch einen Bonus-Punkt.
Publication: Classic Rock Revisited
Country Of Origin: USA
Review Date: Unknown
Reviewer: A. Lee Graham
With Fly Paper, Tiles has upped its game. Gone is the bloat that mired Window Dressing; in its place are tight songwriting, sharp instrumental passages and melodies marking this the Detroit act's finest hour since Presents Of Mind.
Things get rolling with "Hide In My Shadow," whose recurring riff should impress listeners both metallic and melodic. Paul Rarick's uncanny ability to maneuver his lyrics around dynamic time shifts make these guys stand out, as does Chris Herin's multi-instrumental mastery. From guitar and mandolin to banjo — yes, "Hee Haw" fans, banjo! — Herin proves any instrument can befit any genre. Creativity is the key.
Meanwhile, just try resisting "Back & Forth"'s danceable rhythm and strong backing vocals. "Markers" affords Mark Evans room to use his entire drum kit and explore its subtle shadings. Canadian rock legend Kim Mitchell appears on "Dragons, Dreams & Daring Deeds," with Rush six-stringer Alex Lifeson cutting through "Sacred & Mundane." As if that's not enough, the aural "green room" is further occupied by Alannah Myles ("Back & Forth") as well as Terry Brown and Hugh Syme, the Rush veterans whose producing and cover art skills, respectively, helped Rush fulfill its vision.
But this is Tiles, not Rush, and the Detroit quartet stakes its own claim with Fly Paper.
Publication: Rockline
Country Of Origin: Slovenia
Review Date: Unknown
Reviewer: Rok Podgrajšek
Tiles je ameriška skupina, ki že kar nekaj casa straši po svetu s svojo mlacno glasbo in ljudi spravlja v obup. Kar presenetljivo je, da so se znašli na nemški založbi Inside Out, ki podpira bolj progresiven metal in revitalisticen simfonicen rock. Tiles namrec ne spada v nobeno od teh skupin, kvecjemu bi jih lahko uvrstil med melodicen hard rock.
Kljub vsemu pa se Tiles niso zadovoljili le s tem, da bi ponovno navdušili le tiste, ki so njihove albume kupili že v preteklosti. Na pomoc jim je namrec priskocila kar lepa skupina znanih glasbenikov in mojstrov posla, kot so Alex Lifeson (Rush), Hugh Syme (Rush) ter producent Terry Brown (producent zasedbe (yes you guessed it) Rush). Tako so si ameriški gospodje zagotovili še vecjo izpostavljenost ne le v progresivnem rocku, temvec tudi v bolj trdem rocku. Torej se Americani izpostavljajo na vecih frontah naenkrat, a na koncu se ravno ta neodlocnost izkaže kot razlog za glasbeni neuspeh. Ni namrec neke osredotocenosti, ker naenkrat skušajo biti tako progresivci kot hard rockerji. Medtem, ko Rush to lahko storijo zelo uspešno, pa Tiles v tem pogledu manjka še kar nekaj prakse.
Glasba Tiles je vse prej kot neposlušljiva. Še vec, zelo hitro gre v uho, a kaj ko se napevi in inštrumentalni deli kaj hitro izrabijo in na koncu vidiš, da je bil ves album postavljen na šibkih temeljih. V glavnem pesmi sledijo istim vzorcem – nekaj hard rockerskih delov, nakar hitro sledi še kakšen pocasnejši del na akusticni kitari. Najprej se zdi, da bodo takšne kombinacije vnesle nek zanimiv energijski naboj v album, a se tam nekje na sredi opazi, da vse sledi nekim genericnim vzorcem. Za edino raznolikost poskrbi mellotron, ki se nahaja na Markers ter Hide And Seek. Vidi se, da so si Tiles zadali visoke cilje, ocitno zaenkrat za njih še previsoke. Želeli so biti všecni vsem naenkrat, a se prav lahko zgodi, da ne bodo všec ne hard rockerjem, ne progresivcem. Ves album je sicer odigran na visokem nivoju, glede tega sploh ne morem cesa kritizirati. Edino kar me morda nekoliko moti je vokal, ki je neka mešanica Jamesa La Brieja (Dream Theater) ter pokojnega Laynea Staleya (Alice In Chains).
Tiles s svojo glasbo ne bodo premaknili sveta, prav tako pa ne bodo naredili neke strašne škode. Njihova glasba nima nekega pravega naboja in samosvojosti, da bi jo lahko uvršcali med vrhunsko. V njej preprosto ni tistih elementov, ki bi jih dvignili iz povprecja. Še bolj pa je žalostno to, da se opazi kako se trudijo in skušajo biti novi in sveži. Na njihovo žalost pa izpadejo ti poskusi pateticno, ucinek pa je plasticen in umeten. Ne bom trdil, da na Fly Paper ni nicesar kar bi bilo vredno poslušanja. Še vec kot to, vecinoma so njihove pesmi zelo prijazne do ušes. A kot sem že dejal gre vse po že nekih ustaljenih formulah, ki dvomim da bodo uspele prepricati kakšnega avanturisticnega poslušalca. Kar dostikrat skušajo za raznolikost poskrbeti tako, da hitro preklapljajo med elektricno in akusticno kitaro, a medtem ko so Rush na svojem novem albumu Snakes And Arrows to poceli popolno naravno, so poskusi Tiles bolj prisiljeni. Kot da ne vedo kaj so – hard rockerji, progresivci, ali soft rockerji. Fly Paper je genericen in melodicen izdelek, ki me niti približno ni preprical.
Publication: Progressia.net
Country Of Origin: France
Review Date: Unknown
Reviewer: Dan Tordjman
Qu'il est dur de chroniquer un album de Tiles. Pourquoi ? Parce que lorsque ce groupe nous sert un nouveau disque, on ne peut s'empêcher de penser au somptueux Presents of Mind annonciateur d'un fort potentiel, mais qui fut suivi d'un Window Dressing fade et redondant. Et le groupe de Detroit, présenté alors comme le plus pur des héritiers de Rush retomba quelque peu dans l'anonymat. Par conséquent, les craintes furent légitimes à l'arrivée de Fly Paper.
A la première écoute, « Hide in My Shadows » ne nous rassure guère à l'entame de ce nouvel album. Malgré un riff de guitare à la Alex Lifeson assez intéressant, le soufflé retombe le temps du couplet pour regonfler sur les refrains. « Sacred and Mundane » se fait plus rentre-dedans, avec en prime Alex Lifeson en invité, mais de là à dire que sa seule présence transcende le titre à lui tout seul serait manquer de respect à Chris Herin et au batteur Mark Evans qui planent au dessus de leurs acolytes. Et que dire de ce « Back and Forth » et son refrain sur lequel la belle revenante Alannah Myles - souvenez-vous du tube « Black Velvet » - use de ses cordes vocales avec une simplicité et une beauté rares. Le disque démarre donc réellement au deuxième titre mais le quatrième, « Landscape », aurait très bien faire l’ouverture : extrêmement puissant avec un refrain évoquant Faith No More, Mark Evans s'en donne encore à cœur joie derrière sa batterie et parvient à faire oublier l'extraordinaire Pat De Leon.
On fait une courte pause avec l'exotique introduction de « Markers » avant de reprendre sur un thème plus dynamique. Ne boudons pas notre plaisir : ce disque est rythmé et c'est ce qu'il fallait pour pleinement l'apprécier. La pièce du boucher s'appelle « Dragons, Dreams and Daring Deeds », plus de huit minutes au compteur, dans la droite ligne d'un certain trio canadien. On se laisse transporter sans en perdre une miette : c'est un signe que le titre marche. De même, « Crowded Emptiness », très pop et probablement le plus carré des morceaux , contient mélodies et guitares accrocheuses, tandis que le final « Hide and Seek » constitue un autre lourd pavé, mais tendre sous la dent, à la partie centrale très intéressante.
In fine plus de peur que de mal. Tiles a su tirer profit des erreurs commises sur Window Dressing. Deux ombres majeures restent au tableau cependant : le chant de Paul Rarick manque de variété et demeure quelque peu monotone. Autre ombre, plus noire encore : comment Terry Brown l'homme à qui nous devons 2112 et Hemisphères ou Permanent Waves peut-il produire un album avec un son aussi étouffé, qui ne demanderait pourtant qu'à respirer ? Est-ce bien là l'homme dont on parle ou son homonyme ? Une question qui pourrait rendre difficile l'appréciation de cet album. Oreilles chastes ou trop propres, réfractaires à une production « sale » passez votre chemin. Les autres laissez-vous tenter.
Publication: Metal Temple
Country Of Origin: Unknown
Review Date: June 23, 2008
Reviewer: Dimitris K.
Since I am not an expert on the Progressive Metal scene TILES is something new for me and actually this review was the reason to meet them. So, I learned that this band hails from Detroit, Michigan and has made the debut entry to their back catalogue in 1994 with the homonymous album.
After a couple of CD spins I realized that the term Progressive Metal does not really apply to "Paper Fly". I am not talking about the ’Progressive’ part but for the ’Metal’ one; indeed the band has strong Rock foundations with some distinct RUSH influences to go with. The song structure is kind of complicated with many tempo changes and several melodic patterns but they don’t sound in any way overloaded. Just like the opening track "Hide In My Shadow" where the main guitar melody keeps the listener focused and guides him through the different music patterns that appear and grow during the audition. The album flows smoothly without surprises and this is a downside if you are a die-hard Progressive Metal/Rock fan. Of course I am referring to the fans of the current Progressive Metal scene that I believe has lost track and has become way too complicated for my ears.
Of course, the album needs additional spins in your CD player to grow and mature in your mind. If you follow this process then you will discover some PINK FLOYD elements scattered every where, like in "Markers", some DREAM THEATER touches in the vocals and the definitely RUSH feeling. The band manages to keep the listener’s attention and interest during the eight minutes of "Dragons, Dreams, & Daring Deeds" and "Hide & Seek" that comprises an excellent Blues meets Jazz guitar solo.
I think TILES have created an album that will remind to some of us that Progressive Metal is about making music for the shake of music and not for showing of one’s musical high skills. Personally, I have to give the band some additional credit because they managed to keep me interested despite the fact I have stopped following this scene for the last eight years or so.
Publication: WhatzUp
Country Of Origin: Unknown
Review Date: Unknown
Reviewer: Jason Hoffman
Detroit's own Tiles have been around since 1993, making a name for themselves as the next generation of progressive rock's flag bearers. This considered, it's only fitting that
they recruit Terry Brown - who has produced such legendary bands as Fates Warning, Voivod and Rush - to produce their latest album, Fly Paper. His involvement has also furthered
their "ode to the grandfathers of prog-rock" sound, giving enhanced depth to their already tuneful songs and intelligent compositions.
Don't let the fact that Rush guitarist Alex Lifeson pretty much co-wrote their single, "Sacred & Mundane," trick you into thinking that this band is a mere Rush rip-off. Indeed,
Tiles are talented and mature enough to be able to take these influences and boldly pay homage to them while still making something that is very much their own. First consider the
opening track, "Hide My Shadow," which has Rush-influenced vocals and guitar tones. The rhythms and intriguing melodies on this song take it in directions Rush would never dream
of. Drummers will especially like "Landscape," a rough and rugged, angular song featuring amazing drum work to hold up an already impressive song that is sure to get your blood
pumping. "Dragons, Dreams & Daring Deeds" includes a nice guitar solo by Kim Mitchell, not that Tiles are into name-dropping. Nay, this eight-minute song is full of twists and
turns that will keep you glued to your hi-fi, eager to hear the next revealing guitar part regardless of which historic superstar will suddenly appear to add their shine to the
mix. Speaking of shine, "Crowded Emptiness" is less dark than the rest of the album, having almost a "feel good summer movie" vibe about it, providing an uplifting finale to an
excellent album.
While a bit darker than their previous four albums, Fly Paper is an excellent classic progressive hard rock album worthy of the many prog-rock illuminati that grace several of the
songs (not mentioned above but included are Alannah Myles and Max Webster). There's heart in these songs, folks, not just intellectual musical exercises. And there's melody
aplenty. And guitars. Lots of heavy guitars, but not so heavy as to scare the kiddies. Oh, and some keyboards, but again, not so many as to make you think very special guest Yanni
has broken into the studios. Did I mention that there are tons of astounding guitar solos? If you're one of those fans who can't get enough 80s mainstream progressive hard rock,
well, you need to pick up Fly Paper immediately.
Publication: Rock Pages
Country Of Origin: Germany
Review Date: Unknown
Reviewer: Dimitris Kazantzis
The fifth album by Tiles is probably what the fans had been expecting from their favorite band. The maturity of the Americans is obvious while the musical ingenuity is evident in this very well-crafted record. Tile are considered by many to be the successors of Rush. One has to be careful, though, with such characterizations and pay more attention to all the factors that lead to the final result that goes by the name of “Fly Paper”. Terry Brown (Rush, Fates Warning, Dream Theater etc.) handles the production and the sonic outcome is absolutely crystal clear. Special guests include Alex Lifeson (Rush) on the guitar, Kim Mitchell and a familiar face from the past, Alannah Myles who put all of them their stamp on the album.
Notice or even better admire the excellent cover and back cover of “Fly Paper”, a piece of art by Hugh Syme (just put it right beside Queensryche’s “Sign Of The Times”) who contributes his keyboard talent on two songs of “Fly Paper”. And these are not the only guests…
All of the aforementioned elements help to bring about a perfect result, but the lion’s share belong of course to Tiles.
Publication: Maelstrom
Country Of Origin: Unknown
Review Date: Unknown
Reviewer: Avi Shaked
Fly Paper is the latest offering from Detroit prog/hard rock outfit Tiles, active since 1993. A glance at the album’s credits revealed Terry Brown, famed for his work with Rush, in the producer’s chair. If such an association causes you to anticipate a fresh take on Rush’s work, Fly Paper will live up to your demands.
The deadly riff with which the album opens signals that Tiles is indeed Rush derived — a direct and alarming riff, synced with a robust bass line and laying the ground for some of the most melody-driven hard rock in quite a while (that lasts the entire album, that is). Acoustic guitar appears as the first verse starts, without clouding the heavy, electric atmosphere; the song, quite like those that follow, relies on twists of this sort to keep your attention throughout.
Putting aside the under-produced drums, most Rush fans would agree that this energetic, modern album also amalgamates a bit of the band’s electro-acoustic ‘70s sound with the punchy yet confined songwriting of the early ‘80s. In fact, Fly Paper is not totally unlike Rush’s recent material, but it manages to sound more gutsy and truthful due to its immediacy. If that’s not enough, then the fact Rush’s own Alex Lifeson guests on guitar (on "Sacred and Mundane") might help to convince you of Tiles’ high rank.
Still, a warning is required. The high impact songs aren’t as thought provoking as classic Rush material; and despite the well structured compositions and first class hooks, the less demanding vocals (when compared to Geddy Lee’s, which are an acquired taste) and some slightly fawning segments (like the first half of "Hide and Seek," until the aerial keyboards enter) may bring a mainstream rock connotation to mind. (8/10)
Publication: Blast! Magazine
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
"In the Footsteps of Rush"
In the 15th year of its existence, the Detroit group Tiles has just presented its fifth album, Fly Paper. This clearly shows that the band does not release new recordings all
that often, which you nonetheless gladly put up with if it results in such first-rate albums as Fly Paper. Musically, Tiles are similar to bands such as Spock’s Beard, the
short-lived all-star project Transatlantic, and especially Rush; you could even go so far as to consider Tiles the little brothers of the Canadian prog heroes. Thus, it is
surely no coincidence that the producer of Fly Paper, Terry Brown, was also responsible for refining the sound of several Rush albums. Further, the magnificent cover was
designed by Hugh Syme who has also worked for Rush before and who even appears on one track of Fly Paper as a guest keyboarder. To top it all off, none other than Alex Lifeson,
the famous magician on guitar of - you guessed it - Rush was also involved in the creation of the album. However, in spite of all these parallels, one thing is beyond dispute:
the eight songs included in Fly Paper are, without exception, small, wonderful gems which deserve heightened attention. In addition to folks who enjoy sophisticated, intricate
arrangements, we would suggest that all those who go for hot melodic hard rock for once dare to have a listen. The following titles are especially noteworthy: "Hide in my
Shadow," "Back & Forth" (with the participation of another renowned guest, vocalist Alannah Myles), "Dragons, Dreams & Daring Deeds", and the fabulous final track "Hide &
Seek".
Publication: Breakout Magazine
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
It has taken yet another four years for the Americans finally to present the successor album to "Window Dressing." In previous reviews, the group's proximity to Rush, in terms
of sound and production, was critically noted from time to time. Similar comparisons will presumably again be made, at least with respect to the opening track, "Hide in my
Shadow." Already in the second piece, "Sacred and Mundane," Alex Lifeson of Rush makes an appearance (as do Alannah Myles and Kim Mitchell in other tracks), and the producer of
Rush was brought on board again as executive producer. He had been responsible for the sound of Queensryche or Fates Warning's "A Pleasant Shade of Grey" and, also, for the 1991
Album of Voivod, and, moreover, had been at the controls with the Albums "Fence the Clear" and "Presence of Mind." According to the band’s press release, he was to "produce
polished and yet organic recordings," as he did with the Rush album "Permanent Waves." However, you would definitely not do justice to Tiles if you were to be just looking for
elements reminiscent of Rush or perhaps Fates Warning (or perhaps the earlier Spock's Beard?). To be sure, these elements do shine through every now and then with a sly wink,
however, Tiles have become much too independent, their compositions are much too compact and multi-faceted, to make comparisons worthwhile. In contrast to their 2004 album, the
group presents itself more oriented toward vocals, at times almost groovy, with greater distance to epic tendencies than in earlier albums. Songs like "Landscape" or the
slightly-more-than-eight-minute-long "Dragons, Dreams & Daring Deeds," which oscillates between calm or rock-like grooving phases and prog-like passages, show a band which
appears to have reached the next level, even if the track "Crowded Emptiness" does not quite reach that level. The album comes to a close with an ingeniously grooving "Hide and
Seek," in which guitar and a fresh bass culminate in one fantastic finale.
Publication: Darmstadt Echo
Country Of Origin: Germany
Review Date: February 8, 2008
Reviewer: Unknown
Transcription: Al Grabenstein
The progressive rock genre proves yet again completely indestructible and resistant in the face of all contemporary trends. Again and again, this sea of science fiction,
psychedelic, and technical capabilities gives rise to a band which adds a little something new to the genre. Tiles, led by Chris Herin, have been traveling through the scene
since 1993, yet now, with "Fly Paper," they have succeeded in creating a kind of master piece, an opus magnum. Sure in their approach as never before, the quartet stirs up a mix
of Pink Floyd, Rush and Queensryche, with excursions into one or the other direction evidently being part of the concept. Thus, in "Sacred and Mundane," they lift off into
hovering prog rock spheres, and you can clearly hear that Alex Lifeson of Rush is in the mix. By contrast, in "Landscape," they push a modern metal sound, and in the epic
"Markers," they nearly come to a stop before the song tentative-forcefully breaks free. In this sophisticated fashion, Tiles wind their way through an album rich in different
musical styles that offers much that is worth discovering.
Publication: Eclipsed
Country Of Origin: Germany
Review Date: February 2008
Reviewer: Unknown
Transcription: Al Grabenstein
Rating: 6 of 10 points
In their fifth album, the men from Detroit around Chris Herin, songwriter-in-chief and lead guitar, limit their penchant for epic long tracks, of which they apparently had their
fill in their last album, "Window Dressing," to a maximum length of eight minutes and instead refine their guitar sounds even more. In a total of eight songs, produced by Rush
sound engineer Terry Brown, drums and breakneck string riffs chase each other, well packaged in hard rocking, yet quite catchy songs, even if they shine every now and then with
unusual rhythm sequences. With their dominance of guitars, Tiles are reminiscent of jam bands such as Umphrey's McGee, while the six-string sounds give rise to thoughts of Led
Zeppelin ("Hide in my Shadow," "Dragons, Dreams and Daring Deeds"). Every now and then there is the sound of a mandolin ("Sacred & Mundane"), then some Latin American flair,
however, unfortunately, always much too brief. In general, the sound of the album remains all too uniform to be really able to convince completely.
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
For their fifth studio album, the Americans around guitarist Chris Herin again got together with producer Terry Brown. The result was the probably most ambitious work of the
progressive rockers from Detroit so far. "Fly Paper" offers contemporary progressive hard rock with profound melodic structures and a basically rather somber mood. Overly
lengthy tracks are avoided and, thus, the eight songs range between three and eight minutes in length. In spite of a high degree of progressivity, the material only very rarely
comes across as overdone. That Tiles do not model themselves on their competition becomes all the more evident, the more you work your way into the new album. "Landscape" is
one of those songs that are immediately catchy and it literally latches on to your mind with its powerful bass play and driving woofer rhythm. Interesting song structures and
changes in rhythm complement each other splendidly in "Back & Forth," which represents one of the most accessible songs on the album. None other than Alannah Myles is one of the
guest contributors to the album. "Fly Paper" is very solid "progressive food" and again confirms the band’s already significant status.
Publication: Empire
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
The group Tiles belongs, without ifs, ands or buts, to the absolute insiders' tip in the house of InsideOut. However, considering the fact that the current CD, "Fly Paper,"
turned out terrific, this status should change soon. When writing down a review, one is all too easily tempted to open certain drawers in order to be able to categorize the
whole matter and be done with it. Well, in the case of "Fly Paper," I would quite often use the Rush-drawer, every now and then the Dream Theater- and perhaps also the
US-American-melodic-rock drawer. But precisely this approach would probably be too simple. To be sure, Tiles really do not make it easy for the listener, and thus the boys
again offer us their complex mix of prog rock, metal and a few melodic boilerplate tracks. The eight titles satisfy fully with their high musical ambition and warm sound. None
other than top producer Terry Brown, who, as is well known, has worked with Rush before, has done an excellent job with the current disk. And since I’m already mentioning well
known names, I also ought to refer to the list of guest musicians. There you’ll find, among others, Kim Mitchell, Alannah Myles und Alex Lifeson. "Fly Paper" must be absorbed
repeatedly, and the album grows and grows and grows. For me "Fly Paper" is the first thunderclap of the year 2008, and I assert that other releases will find it damn difficult
to come close. Very well done!
Publication: Heavy
Country Of Origin: Germany
Review Date: February/March 2008
Reviewer: Martin Kosbab-Zillmann
Transcription: Al Grabenstein
If one band has steadily walked in the footsteps of Rush, it is Tiles who with "Fly Paper" have now released their fifth studio album. The band's front man Chris Herin and his
boys have once again released eight songs (nine on the Limited Edition CD) which will put a smile on the face of every fan of the Canadians. This is not to say that Tiles are a
copycat band, but rather that the Americans go to great lengths to be honorable stewards of the heritage of Rush. In this task they are helped not just by the guitarist of the
Canucks, Alex Lifeson, but also, in Hugh Syme, by the in-house designer of the trio. Since yet another prominent guest, wonder-voice Alannah Myles, also appears on "Fly Paper,"
there is no shortage of variety, which is why prog fans can rest assured and should grab the CD, in spite of a few somewhat trivial passages.
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 2008
Reviewer: Eric Harabadian
Detroit-area band Tiles has explored many facets of original rock having embellished its basic guitar-centered sound with banjo & mandolin, violin, keyboards, and ethnic
percussion. Previous works have demonstrated a willingness to take creative chances and follow their muse. With Fly Paper, that progressive aesthetic remains but has been refined
via tighter song arrangements and a more direct lyrical approach. Previous disc Window Dressing veered into uncharted waters with extended jams, the use of brass, and acoustic
piano etudes. Here we have a return to Tiles' original early-90's origins, featuring bona fide rockers including "Hide in My Shadow" and "Landscrape." Former Rush producer Terry
Brown is back, enlisting help from guitarist Alex Lifeson on the incendiary track "Sacred & Mundane." Other guest stars include vocalist Alannah Myles ("Black Velvet") and former
Max Webster guitarist Kim Mitchell. Album designer and keyboardist Hugh Syme, percussionist Sonya Mastick, Discipline multi-instrumentalist Matthew Parmenter, and vocalist Nate
Mills round out a distinguished cast of session players that truly makes this one of Tiles' best and most well-rounded works to date.
Publication: ProgScape.Com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Bill Knispel
Detroit’s Tiles is back with a vengeance on Fly Paper, their fifth album (and first studio effort in four years). The album reunites the band’s ‘classic’ line-up for a full-length collaboration for the first time since 1997’s Fence the Clear. Original drummer Mark Evans (last heard on a Tiles album on parts of Presents of Mind, released in 1999) is joined by founder members Chris Herin (guitars, keyboards), Jeff Whittle (bass) and Paul Rarick (vocals) on 8 tracks of diverse and heavy progressive rock, with nods and winks to 1970’s hard rock that sound genuine, not forced.
Past efforts have been compared to Rush, for reasons both fair and unfair. The fact that Terry Brown has produced or mixed the majority of their efforts has led to a sound that often shares similar sonic touchpoints to Rush’s material, while earlier albums have perhaps exhibited a bit of influence in songwriting that may have made some listeners uncomfortable, worried that it was more imitation than influence. As the band has grown and, yes, progressed, these influences have fallen further to the side, and on Fly Paper, Tiles showcases material that is well and truly theirs.
Tiles opens their 5th studio album with a crunch and a bang; “Hide in my Shadow” is a tasty rocker with loads of distorted guitar and a punchy, insistent drum line that pushes the song forward. Paul Rarick’s vocals are pleasant, layered and multitracked to add richness to the mix. As a statement of purpose informing the listener that Tiles is back, “Hide in my Shadow” works wonders. A deceptive acoustic opening leads into a second blast of hard rock power. “Sacred and Mundane” as a title features some of the same kind of wordplay that would entice and excite Rush’s Neil Peart. The track is a fantastic rocker, with Mark Evans’ drumming adding flourishes under a thick mix of guitar and bass courtesy of Chris Herin and Jeff Whittle. The occasional forays into acoustics add to the song, showcasing a band that deserves far more attention in a world full of Spock’s Beard and Flower Kings-influenced bands than they get.
Continuing a tradition that stretches back to 1999’s Presents of Mind, “Sacred & Mundane” features a guest musician...none other than Rush’s Alex Lifeson, who adds some fantastic acoustic and electric guitar parts (the band says all the predominant guitars on this track are Alex’s). Lifeson is not the only special guest performing on Fly Paper, either; Max Webster’s Kim Mitchell contributes to the semi-epic “Dragons Dreams & Daring Deeds,” Alannah Myles (“Black Velvet”) adds her distinctive vocals to “Back & Forth,” and Hugh Syme (the cover artist) contributes keyboards on “Crowded Emptiness.” Above and beyond this impressive coterie of guests, Nate Mills (vocals), Sonya Mastick (percussion), and discipline frontman Matthew Parmenter (vocals, keyboards) contribute throughout (of note, this is the third collaboration between Parmenter and Tiles).
Another play on words, “Landscrape” bursts from the speakers like an angry beast, all claws and teeth snapping and cracking and growling. The mix is bass heavy and filled with crunchy baritone guitar sounds, perhaps one of the band’s heaviest efforts to date. One of the shortest compositions on Fly Paper at just 4:33, this is a song that in a perfect would be getting all kinds of airplay on modern rock radio. Certainly more interesting than anything currently in heavy rotation, it is every bit as heavy as your Stone Sours or Hinders or what have you. Lest one think Tiles is all rock and roll and heaviness, “Markers” shows the band exhibiting a gentleness and restraint that shows their diversity while also making the heaviness all the more heavy. This is not a toss off track by any extent of the imagination; the opening two minutes are all about passion and honesty in delivery, while the quicker bits that evolve out of this still feel like the same song, rather than two disparate compositions glued together out of necessity. There’s a sense of melancholy pervading this track…world weariness and sadness drip from Paul Rarick’s vocal delivery, while Herin’s solos are down in the mix, sounding almost ghostly and adrift in the mix.
An alliterative title to be sure, “Dragons, Dreams & Daring Deeds” is one of the album’s most expansive compositions, clocking in at just over eight minutes. Crunchy guitar alternates with layered vocalese as the track opens, with instrumental showcases dominating the stage. Herin shows himself to be equally adept and bluesy, bent note playing and glistening, Police-like atmospheres. Whittle and Marks lay down a thick, deep groove, while Rarick’s tenor vocals are fragile, soaring over the shifting musical landscape beneath him. One might think this could have been included on the band’s 1999 release Presents of Mind, as it feels very similar stylistically to their 14-minute epic “Reasonable Doubt” from that same album, yet this should not be seen as evidence of a band repeating themselves. Rather, it feels more like a band taking a fond look back at where they came from while moving forward at the same time. The additional time given to this track allows it to develop a little more, moving in different directions while also maintaining the elements that make Tiles the band they are.
Fly Paper closes with the “Hide & Seek,” the album’s longest track. This piece sees the band moving back toward the heaviness that typified the opening half of the album, mixed with just a touch of light and shade. One thing that has impressed throughout is the richness of Chris Herin’s guitar playing throughout; rhythm work is thick and crunchy without losing definition, while his soloing has just the right touch of hotness to cut through without breaking up. Rarick’s vocals are a joy to listen to as well…alone, his clear tenor is one of the best in the genre, while layered and choir-ed, well…it’s like a host of angels singing for you. The song almost seems to shift gears around 3:30 in, as the band fades away, making room for acoustic guitar, synth and gentle vocals. “Hide & Seek” is an incredibly diverse track, showcasing all the styles and musical colours Tiles can bring to bear.
Heavy and willing to get in your face, while at the same time just as likely to pull back and show gentleness, Tiles is a band that will impress a wide range of progressive music fans. Fly Paper is perhaps their strongest effort to date, meriting a closer look and repeated listens.
Publication: MusicConnection.Com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Eric A. Harabadian
Detroit-based band Tiles are poised to put themselves on the map with this release. Terry Brown, who has worked on some of their previous releases, is back and the former Rush producer enlists none other than guitarist Alex Lifeson, along with vocalist Allanah Myles (“Black Velvet”) and Max Webster’s Kim Mitchell to help out on various tracks. The result is an album that remains true to their artistic vision while exhibiting a more primal and radio-friendly edge.
Publication: Ytsejam.com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Tommy Hash
A truly unique band, ‘progressive’ in their motives of technical tendencies, but 100% hard rock all the way. Now on album number five, Detroit’s Tiles has shown growth, and on their last record, Window Dressing, there was this expansion of production that really showed what the band could do outside of their tight power trio + lead singer groove (which included ‘epic’ tracks), but now, Fly Paper has brought the band back to basics, and there are no complaints, as they still play the infectious melodies we have always loves them for.
Featuring Terry Brown (Rush, Fates Warning) behind the board as the producer, Fly Paper is devoid of the overzealous use of keyboards or long improvisations for more sensible precision that focuses on music that ‘rocks out.’ Opening the record is the compelling “Hide in My Shadow,” where the semi-staccato lead guitar plays up against the high string acoustic six string attack – leading into this grinding, in-your-face tune that sets the tone for the rest of the record; other cuts such as “Back & Forth” (feat: Alannah Miles), “Markers,” & “Dragons, Dreams, & Daring Deeds” (feat: Kim Mitchell) follow the same hard rockin’ formula with the grittiness playing against smoothed out melodies. The acoustic “Crowded Emptiness” is one of the few songs to features keyboards (played by cover artist Hugh Syme) and is reminiscent of what could be a long lost tame Porcupine Tree cut, while aggression is put in full force with “Markers.” Another tune of note on Fly Paper is the furiously sophisticated & heavy “Sacred and Mundane,” which features a very special guest that added a personal touch to the Tiles classic, and even with Alex Liefson’s presence, this is by no means a Rush rip-off, it’s a Tiles tune front to back.
The many guests on this record added to the diversity and it’s the ‘balls to the wall’ stance that keeps the record filled with hard rock gusto. Fly Paper is further proof that Tiles has profoundly set their own existence in the world of rock and roll, whether it be progressive rock or heavy metal, this quartet executes a melodic stance that so few bands have been able to create, being one of the true innovators of hard rock over the past decade; it is time that the world takes note.
Publication: Metal Express Radio
Country Of Origin: USA
Review Date: January 2008
Reviewer: George Fustos
Right from the start of the new Tiles release Fly Paper, it is quite obvious the album has many undertones of the band Rush incorporated into their latest work. As you get deeper into the rest of the tracks, it will become even more apparent. Now, before anyone thinks they are copying Rush, that is not the case at all. In fact, even though they are highly influenced on this release, the Tiles actually have a different kind of feel to their music. One interesting note is that while many different artists that make guest appearances, seven to be exact, Alex Lifeson himself (from Rush-no kidding) does appear on the second track “Sacred And Mundane.” Terry Brown (producer and leading sound engineer) approached Alex about making a guest appearance on the album. After listening to some of the new material, Alex liked what he heard and decided to take him up on his offer. So, before Rush went out on their last Snakes And Arrows tour, Terry went to Alex’s studio and the two of them worked painstakingly to produce the magic one hears on the track. The band was so impressed by the amount of work Alex put into the song, they said it was beyond and above the call of duty. What else can you expect from a musician from Rush … come on now, really!
The band Tiles has been around for some time now, since 1993 to be exact. This is their fifth studio album, not to mention one live recording. The Tiles are a Detroit, Michigan-based band and its members are Chris Herin (guitars), Mark Evans (drums), Paul Rarick (vocals), and Jeff Whittle (bass). This quartet can surely create some special music, which fans of Prog-Rock will enjoy.
The album consists of eight phenomenal compositions, plus a bonus track that will be on the initial pressing. Besides Alex Lifeson doing his magic on “Sacred And Mundane,” there is vocalist Alannah Myles on “Back And Forth,” Hugh Syme playing keyboards on “Crowded Emptiness” and “Passing Notes” (the bonus track), and guitarist Kim Mitchell on “Dragons, Dreams & Daring Deeds.” The band also had a few other friends join in to contribute their talents: Sonya Mastick on percussion, Matthew Parmenter on keyboards, plus a vocal cameo from Nate Mills.
“Hide And Seek” is the longest track on the album at 8:31 minutes and probably the most intense stylistically. Arrangement-wise, it's probably the most difficult to play with all the time variations and changes throughout -- a true Rush type compilation if there ever was one.
Fly Paper is fresh, creative, intriguing, lyrically emotional and powerful, musically impressive and talented, and incredibly suitable for today’s world. This quartet has done something unique here and it's definitely worth picking up and giving it a listen. If you love Prog-Rock or Prog-Hard Rock with some subtle Melodic undertones here and there, or if you are a huge fan of Rush, then this is a must. Put it on your list at once!
Publication: Room Thirteen
Country Of Origin: USA
Review Date: February 2008
Reviewer: Paul Chesworth
If you’ve never heard of Tiles, where have you been living for the last fifteen years. Founded in 1993, Detroit based Tiles is made up of Chris Herin (Guitar), Paul Rarick (Vocals), Jeff Whittle (Bass), and Mark Evans (Drums).
‘Fly Paper’ is Tiles latest and fifth album, and has been a while in coming. Mark Evans, once original drummer, returns to the stool to replace the departed Pat De Leon. It’s a good thing Mark came back to the fold as comparisons to Spinal Tap would be made.
Anywho, Tiles have been rightly or wrongly tagged with being ‘Rush’ clones. Some may say rightly so, especially when such luminaries as Terry Brown (Rush producer, also Fates Warning), Hugh Syme (Keyboards and past Rush artist aplenty) are involved in the project. Even utilising Brown’s address book to utilise Alex Lifeson on ‘Sacred & Mundane’
But also wrongly so as Tiles make reference to other progressive masters, Pink Floyd, Jethro Tull and even Queensryche, Porcupine Tree and Dream Theater. The songs can be perceived either way, but in my opinion they are a very strong collection of songs worthy of any band, let alone Rush. Dare I say it, even messrs Peart, Lifeson and Lee would be proud to have written some of the songs on offer.
Tiles also carry on the tradition dating back to their 1999 cd ‘Presents of Mind’ brining in other guest musicians. ‘Fly Paper ‘ features an impressive roster of special guests including Alannah Myles on vocals, Kim Mitchell (Max Webster) and Alex Lifeson (Rush) on guitar; Hugh Syme on keyboards; Matthew Parmenter (Discipline) keyboards and vocals (not for the first time, and is almost becoming a fifth member of the band); and Sonya Mastick on percussion.
The cd kicks off with the excellent ‘Hide In My Shadow’ a choppy riffed intro, moving to acoustic, with Paul’s layered vocals suiting the song excellently with a melodic chorus. Lifeson picks up the lead on ‘Sacred and Mundane’ with a definite Canadian influence, acoustic at first, then hard hitting with a distorted wall of sound, featuring the unmistakeable Lifeson guitar sound. Alannah (Black Velvet) Myles helps out with her distinctive sound on ‘Back and Forth’., before one of the highlights for me, as its one of the heaviest songs Tiles have ever performed in the play on words, ‘Landscrape’ complete with moody, heavy riffs, and a good choice for a second single. The second half is as equally as impressive as the first, ‘Markers’ defines the band, showing their diversity. ‘Dragons, Dreams, and Daring Deeds’ is expansive and ‘Hemishperes’-like in its sound. Final track ‘Hide & Seek’ is the albums longest track, and contains a hidden bonus track which isn’t on this promo. The song is a delight and changes pace at the 3:27 minute mark, lighter, technical, with great guitar interplay with Paul’s vocals.
Weakness is not a work in Herin’s dictionary. All songs are powerful and should be on any rock fans wish list. Hell, I got the promo for nothing, and I’m still going to buy it.
Tiles have given us an album, which is proggy, both melodic and heavy in places, subtle and gentle in others, polished all round and even managing to be ‘stripped down’ in the process taking me to the late 70’s and beyond and similar to ‘Permanent Waves’ in its approach. 2007 was a great year for progressive rock, and Tiles ensures 2008 gets us off to the same great start.
Tiles have enough style and panache to stand on their own two feet. As a label ‘Inside Out’ have a roster of bands to be damn proud of, and I cannot think if a previous release over the past couple of years I did not like, and with ‘Fly Paper’, this excellent tradition continues. All hail ‘Inside Out’, all hail ‘Tiles’. Please carry the prog rock fight to the world, and let’s look forward to the next Tiles album, maybe even a tour, guys?
Publication: Lords Of Metal
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Winston
And so it took no less than four years before a new Tiles album saw the light of day. Quite a long time, especially when you're a fan of course. But at least you know that they are fumbling on a new one and a new one never disappoints. Many prog metal bands are being compared to Dream Theater but with Tiles there's just one name that keeps rearing its' referential head and that is Rush. The later styled Rush that is. The band doesn't seem to mind that at all, in contrary because they booked Terry Date, a former Rush producer and furthermore Rush guitarist Alex Lifeson himself drops by in the song 'Sacred And Mundane'!
Even the album artwork is reminiscent but to say that Tiles is copy is way too far fetched. Bands like Jethro Tull, Iron Maiden and Queensrÿche are also mentioned as influential and they are well chosen I think. They chose for a more compact concept this time. Less focus on epics, shorter and more direct songs, translating the feeling of the band today I guess. Singer Paul Rarick doesn't have a unique voice to make Tiles unmistakeably recognizable. The trained listeners won't have any trouble recognizing this as a Tiles album. By the way; do-you-remember-her Alannah Myles sings in on 'Back And Forth', an unexpected surprise. The whole album is varied and with that very enjoyable. Not quite a super flashy album but in some way that wouldn't fit anyway with Tiles. Fan of the later Rush? Add 'Fly Paper' to your collection is my advise.
Publication: Glory Daze
Country Of Origin: USA
Review Date: February 2008
Reviewer: GlazeGod
Background:
Back in 2004 we threw the virtual pen at Tiles' fourth studio recording 'Window Dressing'. We noted all the Rush comparisons. Clever album titles combined with Hugh Syme like cover art. Terry Brown's involvement with the band (continuing here too I might add - with production duties), plus of course, all the Rush like musical comparisons - which for the most part might be considered a little unfair, but hey, when you live at the fountain of Xanadu it's inevitable that something similar will come out in the drink.. Progressive rock and the Motor City 'Detroit' to my way of thinking don't quite combine that well. Is it the oil and water thing? I don't know, but I always thought Prog was best heard coming out of British Cathedrals or small quaint villages in Norfolk or something. Whatever the case, Messrs Rarick, Herin, Whittle and now Evans (a previous member of Tiles I've been told), are doing their best to add another musical genre to come out of that fair city - other than MC5, Stevie Wonder plus all those other Motown cats and Bob Seger. Good luck to them. Firstly, gotta love the cover art. Very clever and witty. I wonder if Boeing will sit up and take notice? Secondly, eight tracks of tight unrelenting hard rock with a prog flavor - not the other way around. Big kudos for getting a name 'cast' of guests turning up to play. Good one Terry! Some Canadian heroes popped into the studio for some hang time, notably Alex Lifeson (Rush), Kim Mitchell and Alannah Myles.
The Songs:
One gets the impression that Tiles are willing to experiment a bit more than perhaps they did in the past. I don't think they have to prove anything to anyone but themselves, and it's in the quality of the new songs that judgment will be passed. The band are fusing elements which made Rush, The Police and to a lesser degree Kings X so popular. Take the first two tracks for instance: 'Hide In My Shadow' and 'Sacred And Mundane'.. you can certainly hear Rush influences in there, but it isn't a Rush song per se. 'Sacred And Mundane' by virtue of Lifeson's appearance would automatically be guilty by association but on deeper inspection, again this is not the case.. the song much more complex and percussive than most. 'Back And Forth' has a jangly appeal while 'Landscrape' is a virtual pot-pourri of sound with a combination of angst, moodiness, confusion and brashness all combined in one. By contrast, 'Markers' is as soothing as a pot of Chamomile tea for the first part, though we do eventually gravitate to the Gin by songs end! Probably one of the album's most challenging tracks is 'Dragons, Dreams And Daring Deeds'. This song never seems to settle, it is always on the edge, the relentless back-beat of drums keep things ticking over. 'Crowded Emptiness' is the most commercial offering on the album, fusing acoustic parts to subtle layers of keyboards. 'Hide And Seek' finishes up the album. At eight and a half minutes, Tiles demonstrate their chops for all to see circa 2008. Remember back in 2004, they put a 17 minute epic as their opening track. Thankfully they've resisted such temptations this time around, and kept it to half the time, though no less interesting.
In Summary:
At a whiff under 50 minutes, the whole album is easily digestible. With eight tracks only, there is no over-extension as one might expect from bands in this genre. To their credit, Tiles have kept this affair predominantly a guitar-based one, with no real over-use of keyboards. It's not stripped back to bare bones, but keys are used to supplement the sound rather than dominate. A pretty talented lot who have now been around since 1993.. fifteen years in the game and only five albums? What gives? This is looking remarkably like a case of Boston and Def Leppard like regularity of output.. haha.. just kidding!
Publication: Rock Report
Country Of Origin: Belgium
Review Date: February 2008
Reviewer: C.L.
First of all I’d like to thank Zane Petersen of CD Inzane (located in the US) for sending me a review copy of Tiles’ fifth studio album.
Tiles is a progressive rock band from Detroit, Michigan that takes its time to write and record an album. Fans of the band had to wait a little less than four years for this follow-up of 2004’s “Window Dressing”, which was actually a quite dark and demanding progrock album. Band leader Chris Herin was aware of that too and wanted to continue in the direction the band was heading at with the third album “Presents Of Mind” (1999). Says Herin: “We made a conscious attempt to keep our epic tendencies in check – since we had thoroughly exorcised those demons on ‘Window Dressing’. We wanted ‘Fly Paper’ to have an accessible song-oriented, almost melodic rock focus.”
After having mixed “Fence The Clear” (1997) and “Presents Of Mind”, “Fly Paper” is the second album in a row, for which the services of producer Terry Brown were enlisted. Band and producer have built up a strong working relationship by now and Brown “helped the band crafting a polished, yet organic recording”, as Herin puts it. As a result, the new album sounds much more accessible and powerful (read: more guitars and less keyboards) than its ‘difficult’ predecessor.
The eight songs on “Fly Paper” are connected by a theme of human vulnerability. After having discussed the lyrics with cover artist Hugh Syme, he came up with this simple yet disquieting (remember 9-11?) paper airplane that is floating over New York City. It’s another fine cover from my favourite cover artist of all times!
Guesting on “Fly Paper” are such luminaries as Rush’s Alex Lifeson (guitar on “Sacred & Mundane”), Sonya Mastick (percussion), Nate Mills (vocals on “Landscrape”), ex-Max Webster’s Kim Mitchell (guitar on “Dragons, Dreams & Darling Deeds”), Alannah Myles (vocals on “Back & Forth”), Matthew Parmenter (keyboards on “Markers” and “Hide & Seek” and vocals on “Crowded Emptiness”) and cover artist Hugh Syme (keyboards on “Crowded Emptiness” and the bonus track “Passing Notes”).
If I take all pieces of the “Fly Paper” puzzle together, I can only conclude that I’m happy that they didn’t produce another album like the last one. This album brings us back to the Tiles of old times. I have the feeling that their next album will be the masterpiece I’ve been expecting for a long time now. We speak each other within a period of 4-5 years ;-)
Publication: Brave Words & Bloody Knucklest
Country Of Origin: USA
Review Date: February 2008
Reviewer: Martain Popoff
Detroit progsters Tiles have delivered an additional batch of Enchant-inflected Rush-fer-the’90s prog metal with finesse and organic texturing on this, their first album in four years and their fifth overall. Fly Paper finds the band tightening their songwriting, with large influence on that front from Rush and Max Webster producer Terry Brown who turns in a gorgeous, creamy sound picture for the band. Melodies are to the fore and there’s a sense of higher impact this time around, with the guys gathering up the likes of Alannah Myles, Kim Mitchell and Alex Lifeson for guest slots. The guys make no apologies for the inevitable Rush comparisons, with Chris Herin capturing Lifeson’s polite electric sound and even layering acoustics like Rush is wont to do in the ‘90s right up to the present. Nice range to the thing as well, as fave ‘Crowd[ed] Emptiness’ leans toward well-wishing, soul-replenished Yes, and ‘Back And Forth’, when it hurdles the wall, has a playful reggae-tipped vibe to it. ‘Sacred & Mundane’ finds the band throwing their shoulder out, and ‘Landscrape’ features a carnal and marauding riff, but really, much of the rest of the album gathers around complicated electric pop metal, Tiles staking a terrain like no other save for perhaps Spock’s Beard, even their heavy stuff sonically arranged on light footing. Vocally, I dunno, I always figure a vocalist is at a disadvantage when he’s way too comfortably in his range, and Paul Rarick really doesn’t sound like he has to push much air – call the result an acquired taste, although ‘Landscrape’ is kind of a cool direction for him.
Publication: Dutch Progressive Rock Pages
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Martien Koolen & Dave Sisson
Martien Koolen:
The Detroit based foursome Tiles have always been a much underrated band although they have already released two masterpieces of rock, namely Fence The Clear (1997) and Presents Of Minds (1999). The music of Tiles can be described as a mixture of Queensryche, Jethro Tull, Iron Maiden, Primus, but foremost Rush. As a matter of fact I can say that if you like Rush – like yours truly – then you will like Tiles and especially this album as well. This is also due to the fact that Fly Paper is produced by former Rush sound engineer Terry Brown and this album really brings back memories of Rush’s Permanent Waves, which Brown produced and mixed back in 1980!!
This fifth studio recording of Tiles features eight new songs and the album really has an accessible song-oriented rock focus with lots of interesting guitar solos and passages. Opening song Hide In My Shadow sets the tone with those typical Rush-like rhythms and melodies and this song almost has a catchy chorus. Sacred & Mundane shows a mandolin intro followed by lots of nerve racking guitar riffs and a howling wah-wah guitar solo. As to the vocals I must say that singer Paul Rarick has a distinct hate-or-love voice, just like Geddy Lee in fact ...
The two true musical highlights are: Back & Forth and Dragons, Dreams & Daring Deeds (nice title by the way). Both tracks are filled with great riffs, tempo changes, sparkling guitar solos and even melodic choruses. There are guest performances by vocalist Alannah Miles (she sang Black Velvet), guitar player Kim Mitchell and Hugh Syme who plays keyboards on two songs.
Fly Paper is definitely much better than the previous Window Dressing (2004), as it is more rock-oriented and much more multi-faceted. This new album is heavier, has more guitar solos and the sound is absolutely powerful! Tiles is back at their high musical level which we already heard on previous albums and therefore I still consider Window Dressing as a musical failure in the band’s history.
Advice: buy and enjoy at a very high volume!
Dave Sisson:
Detriot’s Tiles reach album number five with Fly Paper, and deliver a solid set of hard rock with progressive sensibilities which, whilst hardly likely to set the musical world alight, will surely please their fans and also all devotees of their chief musical inspiration Rush.
I’m sure that longstanding Tiles fans are heartily sick of the Rush comparisons, and indeed, they are not mere slavish imitators, but Tiles do use the same producer (Terry Brown) and cover artist (Hugh Syme), and on this occasion, they even have Alex Lifeson contributing guitar on one track. In the face of this, it would take a stronger man than me to resist the obvious comparison.
Also guesting are Matthew Parmenter, Alannah Myles, Kim Mitchell and Hugh Syme. Syme contributes keyboards to two tracks, but perhaps he should have used his time on the cover design, as it, disappointingly, could have been cribbed straight from the cover for the American edition of PFM’s late 70’s offering Jet Lag – Even if he’s never seen that particular cover, the idea is not up to his usual imaginative invention.
My experience with Tiles is limited to their 2nd and 3rd albums only, but a quick glance around the net seems to show that they received a fair bit of criticism for the last album, in particular for the seventeen minute opening track.
Perhaps with this in mind, Tiles keep things relatively short here, with the longest track only reaching a meagre 8:31. Unfortunately, this paring back has not resulted in the classic album their fans crave to hear, and which I am sure they are capable of delivering. Fly Paper, whilst always entertaining and pleasant to listen to, never really takes off (ahem!).
I’ve whiled away several hours with this album in the hope that its gems would become apparent, but nothing really ever stands out ahead of the pack. Sure, there are great moments (I like the mandolin on the opening numbers), good riffs aplenty, and good melodies throughout, but I can’t point to even one great song. They never seem to break out of the “good song” mould, which at this stage in their career they really should be able to achieve.
Sure, Rush fans will want to hear Sacred & Mundane and Lifeson is all over the track. It would stand up alongside the material on Snakes And Arrows with no trouble, but, again, I’m afraid that, in my humble opinion, Rush too, rarely break into great material these days even if they never drop below the good level.
Not wanting to bash a talented and hardworking band, I’d like to end by emphasising that this is a good album, worthy of a place in any Tiles and Rush fans collections, with no clunkers on board, but it’s not the great album we all want them to deliver.
Publication: Exclaim!
Country Of Origin: Canada
Review Date: February 2008
Reviewer: Chris Ayers
Detroit prog-rockers Tiles wear more than a few Rush influences on their sleeves: their fifth studio effort, Fly Paper, is produced by Terry Brown; the album cover is designed by Hugh Syme (who also plays keyboards on two songs); guest axe men include Kim Mitchell of long=time Rush touring partners Max Webster; and Alex Lifeson himself lends a “Limelight”-like solo to radio single “Sacred & Mundane.” Lead track “Hide in My Shadow” contains all the band’s signature licks (fluid bass, technical drums, etc.), which are compared so often to Rush, but it’s not until “Back & Forth” (with backing vocals by Alannah Myles) that fans get palpable Rush (circa “Vital Signs”) melodies. “Dragons, Dreams & Daring Deeds,” featuring Mitchell’s soloing, approaches Rush’s “Hemispheres” in several places, and the phrasing of “Landscrape” sounds like Rush’s Counterparts. The standout “Markers” brandishes a “Natural Science” trigonometry without sounding dated or obsequious. Vocalist Paul Rarick doesn’t sound like Ged, though; his pipes are less nasal, like Dream Theater’s James LaBrie or Styx’s Dennis DeYoung. Fly Paper is stately prog and the first truly great album of the year. (InsideOut/SPV)
Publication: Prog-Nose
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Danny
I mentioned the style as progmetal, because of the previous achievements of the band but this latest effort from Tiles should rather be catalogued under rock. So, no more concept story, no more long tracks, although there are still two tracks of 8 minutes.
If they want to get rid of the comparisons people make with Rush, they certainly aren’t helping. First of all, Alex Lifeson is playing guitar on one track. The producer is Terry Brown (Rush, Fates Warning) and Hugh Syme (Rush, Nevermore, Megadeth) is playing some keyboards.
“Hide in My Shadow” sets the tone for the rest of the album. Heavy (not metal) riffs in intros, bridges and verses, while most of the choruses are accompanied by acoustic rhythm guitar. The songs contain some excellent rocking guitar solos and they called back their earlier drummer Mark Evans, who plays very straight heavy rock rhythms. Great instrument control by all the musicians. It’s almost a pity, they added the vocals, because Paul Rarick isn’t the best of singers. Although I know he can do better , I don’t like his work on this album. Just listen to “All She Knows” on “Window Dressing” or “Static” and “Modification” on “Presents of Mind” and you know what I mean.
“Sacred and Mundane” opens quietly with a folky Mandolin intro but quickly changes into a heavier track. The heavy riff is played by Alex Lifeson from Rush and so are all the guitars on this track. The presence of Alex certainly brings the Rush sound along. Great song. But even without Alex, on the rest of the album, the Rush sound is always lurking round the corner.
Alannah Miles worked with Terry on the three-part harmonies on “Back and Forth” and it certainly has paid off. A pity she didn’t help out on the rest of the album.
A beautiful duet by Matt Parmenter (Discipline) and Sonya Mastic opens “Markers”, accompanied by the percussion of the same Sonya. This is followed by a guitar solo, that could be signed Gilmour. It’s a pity, it changes to a rock song after a while, because the intro suggested a superb semi-ballad. But I should still mention the great bass playing in this rocky second part.
The most progressive track of the album is “Dragons, Dreams & Daring Deeds”. It contains a lot more variation than the rest of the songs, but is also built on a heavy rock riff.
Conclusion: I’m missing the better vocals, the progressive music and complexity from previous albums and to have a bit more variation, this CD should have contained a ballad or a quiet track. It’s a good rock album, but certainly not the best Tiles album.
Publication: Metal Express Radio
Country Of Origin: USA
Review Date: February 2008
Reviewer: George Fustos
Right from the start of the new Tiles release Fly Paper, it is quite obvious the album has many undertones of the band Rush incorporated into their latest work. As you get deeper into the rest of the tracks, it will become even more apparent. Now, before anyone thinks they are copying Rush, that is not the case at all. In fact, even though they are highly influenced on this release, the Tiles actually have a different kind of feel to their music. One interesting note is that while many different artists that make guest appearances, seven to be exact, Alex Lifeson himself (from Rush-no kidding) does appear on the second track “Sacred And Mundane.” Terry Brown (producer and leading sound engineer) approached Alex about making a guest appearance on the album. After listening to some of the new material, Alex liked what he heard and decided to take him up on his offer. So, before Rush went out on their last Snakes And Arrows tour, Terry went to Alex’s studio and the two of them worked painstakingly to produce the magic one hears on the track. The band was so impressed by the amount of work Alex put into the song, they said it was beyond and above the call of duty. What else can you expect from a musician from Rush … come on now, really!
The band Tiles has been around for some time now, since 1993 to be exact. This is their fifth studio album, not to mention one live recording. The Tiles are a Detroit, Michigan-based band and its members are Chris Herin (guitars), Mark Evans (drums), Paul Rarick (vocals), and Jeff Whittle (bass). This quartet can surely create some special music, which fans of Prog-Rock will enjoy.
The album consists of eight phenomenal compositions, plus a bonus track that will be on the initial pressing. Besides Alex Lifeson doing his magic on “Sacred And Mundane,” there is vocalist Alannah Myles on “Back And Forth,” Hugh Syme playing keyboards on “Crowded Emptiness” and “Passing Notes” (the bonus track), and guitarist Kim Mitchell on “Dragons, Dreams & Daring Deeds.” The band also had a few other friends join in to contribute their talents: Sonya Mastick on percussion, Matthew Parmenter on keyboards, plus a vocal cameo from Nate Mills.
“Hide And Seek” is the longest track on the album at 8:31 minutes and probably the most intense stylistically. Arrangement-wise, it's probably the most difficult to play with all the time variations and changes throughout -- a true Rush type compilation if there ever was one.
Fly Paper is fresh, creative, intriguing, lyrically emotional and powerful, musically impressive and talented, and incredibly suitable for today’s world. This quartet has done something unique here and it's definitely worth picking up and giving it a listen. If you love Prog-Rock or Prog-Hard Rock with some subtle Melodic undertones here and there, or if you are a huge fan of Rush, then this is a must. Put it on your list at once!
Publication: Room Thirteen
Country Of Origin: USA
Review Date: February 2008
Reviewer: Paul Chesworth
If you’ve never heard of Tiles, where have you been living for the last fifteen years. Founded in 1993, Detroit based Tiles is made up of Chris Herin (Guitar), Paul Rarick (Vocals), Jeff Whittle (Bass), and Mark Evans (Drums).
‘Fly Paper’ is Tiles latest and fifth album, and has been a while in coming. Mark Evans, once original drummer, returns to the stool to replace the departed Pat DeLeon. It’s a good thing Mark came back to the fold as comparisons to Spinal Tap would be made.
Anywho, Tiles have been rightly or wrongly tagged with being ‘Rush’ clones. Some may say rightly so, especially when such luminaries as Terry Brown (Rush producer, also Fates Warning), Hugh Syme (Keyboards and past Rush artist aplenty) are involved in the project. Even utilising Brown’s address book to utilise Alex Lifeson on ‘Sacred & Mundane’
But also wrongly so as Tiles make reference to other progressive masters, Pink Floyd, Jethro Tull and even Queensryche, Porcupine Tree and Dream Theater. The songs can be perceived either way, but in my opinion they are a very strong collection of songs worthy of any band, let alone Rush. Dare I say it, even messrs Peart, Lifeson and Lee would be proud to have written some of the songs on offer.
Tiles also carry on the tradition dating back to their 1999 cd ‘Presents of Mind’ brining in other guest musicians. ‘Fly Paper ‘ features an impressive roster of special guests including Alannah Myles on vocals, Kim Mitchell (Max Webster) and Alex Lifeson (Rush) on guitar; Hugh Syme on keyboards; Matthew Parmenter (Discipline) keyboards and vocals (not for the first time, and is almost becoming a fifth member of the band); and Sonya Mastick on percussion.
The cd kicks off with the excellent ‘Hide In My Shadow’ a choppy riffed intro, moving to acoustic, with Paul’s layered vocals suiting the song excellently with a melodic chorus. Lifeson picks up the lead on ‘Sacred and Mundane’ with a definite Canadian influence, acoustic at first, then hard hitting with a distorted wall of sound, featuring the unmistakeable Lifeson guitar sound. Alannah (Black Velvet) Myles helps out with her distinctive sound on ‘Back and Forth’., before one of the highlights for me, as its one of the heaviest songs Tiles have ever performed in the play on words, ‘Landscrape’ complete with moody, heavy riffs, and a good choice for a second single. The second half is as equally as impressive as the first, ‘Markers’ defines the band, showing their diversity. ‘Dragons, Dreams, and Daring Deeds’ is expansive and ‘Hemishperes’-like in its sound. Final track ‘Hide & Seek’ is the albums longest track, and contains a hidden bonus track which isn’t on this promo. The song is a delight and changes pace at the 3:27 minute mark, lighter, technical, with great guitar interplay with Paul’s vocals.
Weakness is not a work in Herin’s dictionary. All songs are powerful and should be on any rock fans wish list. Hell, I got the promo for nothing, and I’m still going to buy it.
Tiles have given us an album, which is proggy, both melodic and heavy in places, subtle and gentle in others, polished all round and even managing to be ‘stripped down’ in the process taking me to the late 70’s and beyond and similar to ‘Permanent Waves’ in its approach. 2007 was a great year for progressive rock, and Tiles ensures 2008 gets us off to the same great start.
Tiles have enough style and panache to stand on their own two feet. As a label ‘Inside Out’ have a roster of bands to be damn proud of, and I cannot think if a previous release over the past couple of years I did not like, and with ‘Fly Paper’, this excellent tradition continues. All hail ‘Inside Out’, all hail ‘Tiles’. Please carry the prog rock fight to the world, and let’s look forward to the next Tiles album, maybe even a tour, guys?
Publication: Lords Of Metal
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Winston
And so it took no less than four years before a new Tiles album saw the light of day. Quite a long time, especially when you're a fan of course. But at least you know that they are fumbling on a new one and a new one never disappoints. Many prog metal bands are being compared to Dream Theater but with Tiles there's just one name that keeps rearing its' referential head and that is Rush. The later styled Rush that is. The band doesn't seem to mind that at all, in contrary because they booked Terry Date, a former Rush producer and furthermore Rush guitarist Alex Lifeson himself drops by in the song 'Sacred And Mundane'!
Even the album artwork is reminiscent but to say that Tiles is copy is way too far fetched. Bands like Jethro Tull, Iron Maiden and Queensrÿche are also mentioned as influential and they are well chosen I think. They chose for a more compact concept this time. Less focus on epics, shorter and more direct songs, translating the feeling of the band today I guess. Singer Paul Rarick doesn't have a unique voice to make Tiles unmistakeably recognizable. The trained listeners won't have any trouble recognizing this as a Tiles album. By the way; do-you-remember-her Alannah Myles sings in on 'Back And Forth', an unexpected surprise. The whole album is varied and with that very enjoyable. Not quite a super flashy album but in some way that wouldn't fit anyway with Tiles. Fan of the later Rush? Add 'Fly Paper' to your collection is my advise.
Publication: Glory Daze
Country Of Origin: USA
Review Date: February 2008
Reviewer: gdazegod
Background:
Back in 2004 we threw the virtual pen at Tiles' fourth studio recording 'Window Dressing'. We noted all the Rush comparisons. Clever album titles combined with Hugh Syme like cover art. Terry Brown's involvement with the band (continuing here too I might add - with production duties), plus of course, all the Rush like musical comparisons - which for the most part might be considered a little unfair, but hey, when you live at the fountain of Xanadu it's inevitable that something similar will come out in the drink.. Progressive rock and the Motor City 'Detroit' to my way of thinking don't quite combine that well. Is it the oil and water thing? I don't know, but I always thought Prog was best heard coming out of British Cathedrals or small quaint villages in Norfolk or something. Whatever the case, Messrs Rarick, Herin, Whittle and now Evans (a previous member of Tiles I've been told), are doing their best to add another musical genre to come out of that fair city - other than MC5, Stevie Wonder plus all those other Motown cats and Bob Seger. Good luck to them. Firstly, gotta love the cover art. Very clever and witty. I wonder if Boeing will sit up and take notice? Secondly, eight tracks of tight unrelenting hard rock with a prog flavor - not the other way around. Big kudos for getting a name 'cast' of guests turning up to play. Good one Terry! Some Canadian heroes popped into the studio for some hang time, notably Alex Lifeson (Rush), Kim Mitchell and Alannah Myles.
The Songs:
One gets the impression that Tiles are willing to experiment a bit more than perhaps they did in the past. I don't think they have to prove anything to anyone but themselves, and it's in the quality of the new songs that judgment will be passed. The band are fusing elements which made Rush, The Police and to a lesser degree Kings X so popular. Take the first two tracks for instance: 'Hide In My Shadow' and 'Sacred And Mundane'.. you can certainly hear Rush influences in there, but it isn't a Rush song per se. 'Sacred And Mundane' by virtue of Lifeson's appearance would automatically be guilty by association but on deeper inspection, again this is not the case.. the song much more complex and percussive than most. 'Back And Forth' has a jangly appeal while 'Landscrape' is a virtual pot-pourri of sound with a combination of angst, moodiness, confusion and brashness all combined in one. By contrast, 'Markers' is as soothing as a pot of Chamomile tea for the first part, though we do eventually gravitate to the Gin by songs end! Probably one of the album's most challenging tracks is 'Dragons, Dreams And Daring Deeds'. This song never seems to settle, it is always on the edge, the relentless back-beat of drums keep things ticking over. 'Crowded Emptiness' is the most commercial offering on the album, fusing acoustic parts to subtle layers of keyboards. 'Hide And Seek' finishes up the album. At eight and a half minutes, Tiles demonstrate their chops for all to see circa 2008. Remember back in 2004, they put a 17 minute epic as their opening track. Thankfully they've resisted such temptations this time around, and kept it to half the time, though no less interesting.
In Summary:
At a whiff under 50 minutes, the whole album is easily digestible. With eight tracks only, there is no over-extension as one might expect from bands in this genre. To their credit, Tiles have kept this affair predominantly a guitar-based one, with no real over-use of keyboards. It's not stripped back to bare bones, but keys are used to supplement the sound rather than dominate. A pretty talented lot who have now been around since 1993.. fifteen years in the game and only five albums? What gives? This is looking remarkably like a case of Boston and Def Leppard like regularity of output.. haha.. just kidding!
Publication: Progressive World
Country Of Origin: USA
Review Date: February 2008
Reviewer: Stephanie Sollow
Let's get this out of the way at the outset. Tiles sound like Rush. Classic Rush to be sure, as there's a certain 80s-era Rush feel to the whole affair. Even still, it doesn't feel as if they're stuck in some long gone era, but rather as if they've kept pace with Rush. That is, as modern as Rush have made their sound, so have Tiles on their sixth album (not including reissues), Fly Paper. Yes, they have Terry Brown sitting in the producer's chair and that has a lot to do with it. On the other hand, Brown also produced Cutting Crew, who, to my recollection, did not sound like Rush. So, I'd venture to say it's only one part Brown, four parts Tiles.
The presence of bass (Jeff Whittle) is quite integral to the whole sound of the band, as with Rush, more so perhaps than most bands. On the other hand, Chris Herin's guitar style owes a lot to Alex Lifeson, who guests on this album, on "Sacred & Mundane," a scorching rocker that puts fiery guitar right at the forefront. To employ another cliché, this asserts itself right in your face, takes no prisoners, and tells you that Tiles is a force to be reckoned with. It's a highlight track on an album that is filled with more highlights than not.
So, let me also get this out right at the outset, this is the freshest and liveliest that Tiles have sounded since Presents Of Mind. Sure, there was only one studio album in between, Window Dressing, but that was, to me, a lackluster attempt. Maybe it had to do with some internal politics going on within the band, I don't know; that they all felt obligated to "get it out" to meet some sort of commitment. Truly, I don't know; this is all just my speculation. But something I sensed when I saw them live in 2005 made me feel that way. And drummer Pat DeLeon, who appeared on the band's last two albums - PoM and WD, left the band in mid-to-late 2005. Behind the kit now is Mark Evans, the band's original drummer who had been with Tiles for their first two albums, the self-titled debut and Fencing The Clear.
Well, lively might be an overstatement when it comes to Paul Rarick, the vocalist. His delivery is often understated, drowsy, though sometimes soaring, too, and falls somewhere in between Geddy Lee and James LaBrie… but not exactly like either.
There are some really fabulous moments on Fly Paper, such as "Markers" which goes from delicate, reflective ballad -- lots of great percussion details to go along with acoustic guitar and lacy electric lines -- to grinding mid-tempo rocker. What comes through here, on this track and the whole album, that didn't on their last outing was a full band dynamic. Maybe I was put off enough I didn't get to deep into the mix, I don't know; but here, the interplay between guitar, drums and bass is so rich. Of course, I did feel on WD that the instrumentation was the highlight; it remains true here. Again, not that I don't like Rarick; I do and more so here than on WD (and as much as on PoM).
The instrumental opening to "Dragons, Dreams and Daring Deeds" also best exemplifies why, like Rush, Tiles isn't just a hard rock band, but a progressive hard rock band, with complex and interesting arrangements. Although not the longest track, it is the one that has the most "sprawling epic" feel. And perhaps the point where they sound the most like late 70s/80s period Rush.
There are a couple of pieces that hark back to an earlier time, and not of … that certain Canadian trio. That is, there's a Beatles/60s-esque rock style, only heavier, in "Back & Forth." Listen to the vocal harmonies of the chorus and background "ahs," acoustic guitar textures, and groovy rhythm; all these make this a standout track on this album. In fact, it is enlivened by a brighter vocal performance from Rarick. Although it comes as track 3 here, this will likely be a set closer; it just as that warm fuzzy feel without being of the cute warm fuzzies variety. I mean, it rocks, and rocks hard, but those harmonies just give it that companionable feel that comes at the end of set where band and audience have bonded. No, not a cigarette lighter moment, but certainly a sing-a-long moment. A great moment too is the rave up at the end, launched by a cool drum tattoo - a foot tapping, air-drumming, air-guitaring moment.
The other "flashback" is "Crowded Emptiness" which has an open and breezy feel, perhaps because of the lighter feel of acoustic guitars, the lighter percussive touch. This brings about a 70s feel, though I can't exactly pin down a specific reference… I'll just throw out some thoughts - Yes, Kansas, Supertramp, Eagles. All those wrapped into one and something more and that's what is remaining elusive at the moment.
"Landscrape" is an abrasive, muscular, growly and snarly track full of the grinding guitars that have become modus operandi here. And by abrasive, I mean it's rough like sandpaper; like sliding down a rocky outcropping. Oh, but Rarick gets to soaring here so prettily, that it's like a momentary salve on some very raw wounds. By the way, I like this track, so all this positive commentary. You may feel that you've been ripped to shreds when the song ends, but you're grinning.
Closer "Hide & Seek" has a single potential - if this type of music has "single potential" anymore. It's groovy and catchy, while at the same time a ballsy rocker - throaty bass, driving guitar, punchy drums, and nice vocal (and very LaBrie like). It's a beefy ballad, actually, yet not soft and wimpy -- even when we get a pastoral interlude - a swell of keys, acoustic guitar, and whispered vocals. Nope, just listen to the crying guitar solo from Herin that follows backing by a strutting bass line from Whittle. Or the bluesy guitar solo that follows a few moments later; sharp, crisp notes, white hot, that just defy any clever metaphor. Herin's not just playin' it, he's feelin' it, and making you feel it, too. Very cool and an excuse to hit "play" again.
Thematically, the album is "[c]entered along themes of 'human vulnerability'. The lyrics explore how people must continually ward off threats to their well-being (even from within) - and the emotional range experienced co-existing with friends, family and the world at large," according to the press release. Because the promo version does not include lyrics, I can't share my thoughts on their sentiments or point of view -- though I've added the "release version" to my purchase list so you may yet see an addendum to this review. I'll say this however, the lyrics may be about vulnerabilities, but the album itself is rock solid and solid rock.
Flaws? Well, to my ears, the throaty beginning to opening track "Hide In My Shadow" lasts just a cycle or two too long… and I do want to comment here, though it's not a flaw, that the very first notes on "Hide…" make me think of opening riff to John Mellencamp's "Authority Song," before the grinding, throaty guitar phrases kick in. Things do throttle back for Rarick's taunting vocal delivery… though the chorus is pretty gloomy (one line goes "brick by brick I build my tomb"). Another flaw is that perhaps the throaty, grinding feel is a bit overused, not that tracks sound at all alike… but, some might find that it's an overused…feel or effect.
When all is said and done, this is an excellent back-to-form release for this band. The "flaws" are so minor and perhaps so particular to just me (maybe?), that what will be remembered is that this is strong, appealing release that will be a strong contender for, if not the best-of for 2008, certainly as one of the highlights for the year.
Publication: All Metal Resource
Country Of Origin: Unknown
Review Date: March 2008
Reviewer: Unknown
Tiles, a Detroit based prog group, takes the route less traveled amongst American prog metal. It seems these days bands either attempt to take the route closer to the likes of power metal, or they go in a more assertive direction ala Between the Buried and Me. In fact, one could say that calling Tiles’ latest effort Fly Paper more rock than metal, would potentially have a good argument. However, in my not so humble opinion, Tiles has produced a great record with some strong metal moments; that alone makes covering this album worth it.
If pressed, I would pinpoint the Tiles sound as a cross between Alice in Chains (specifically with vocalist Paul Rarick sounding a tad like Layne Staley), The Cult, and Dream Theater. Odd combination right? Well, isn’t that what prog rock/metal is supposed to be about? I’m sure there are even more sounds that can be derived, but chew on that combo for a bit, and if you like that possibility, keep reading.
Fly Paper represents a laid back approach to prog. Far too often, prog metal takes the approach of needing technique and speed in order to push the boundaries of their version of what “progressive” means, when in actuality, progression is pushing the boundaries of traditional songwriting to new levels. Bands like Yes, RUSH, and even Iron Maiden and Judas Priest have made their mark by pushing progressive approaches to their art. In that respect, Tiles really hasn’t created an “against the grain” album, but what they have constructed works. Fans of Spock’s Beard will immediately recognize the laissez faire approach of Tiles, sometimes bordering on smooth jazz during a few moments (”Markers” is a good example of this, and is one of the best songs on the album). Again, some will say this isn’t metal, but that is a subjective term. Tiles, while not mimicking even Dream Theater in heaviness, know how to maintain a sense of attitude and atmosphere throughout their music, which is just as metal as the dingiest death metal.
Overall, fans of true prog will dig what Tiles has put out. Having been around since 1993, this band is not exactly new to the scene, but their sound isn’t what will be knocking down doors in the mainstream metal community either. I enjoyed this album quite a bit, but because of its moody flavor, Fly Paper wouldn’t be suggested for head banging and busting heads in a moshpit. However, if you crave that atmospheric album that really hits the spot for that long car ride, or that rainy day, then do yourself a favor and give Fly Paper a try.
VERY GOOD
Publication: Earshot
Country Of Origin: Germany
Review Date: March 2008
Reviewer: Mike
Progressiven Hard Rock bekommt man von TILES aus Detroit auf ihrem aktuellen Album „Fly Paper“ geboten. Bei der Scheibe handelt es sich bereits um die fünfte Studioveröffentlichung der 1993 gegründeten Band. Leider kenne ich die Vorgängeralben nicht, dem Infozettel ist jedoch zu entnehmen, dass die Band auf dem Album verglichen mit dem Vorgängerwerk „Window Dressing“ ihre epischen Tendenzen bewusst in Grenzen hielt und die Scheibe sehr songorientiert klingt, was ich beim Hören nur bestätigen kann. Auf allzu komplizierte Songstrukturen wird verzichtet und mehr Wert auf Eingängigkeit gelegt. Zwar tendiert man nicht so stark in die AOR-Schiene wie die Labelkollegen SAGA teilweise auf deren letzen Album, trotzdem klingt das Ganze zeitweise schon fast nach klassischem Melodic Rock. Einzelne Highlights herauszugreifen fällt mir bei den meisten Alben aus dem Progressive-Bereich schwer, „Fly Paper“ bildet da keine Ausnahme, da die Songs am Stück gehört ihre Wirkung am besten entfalten. Es sei auch noch erwähnt, dass eine ganze Armada von Gastmusikern auf „Fly Paper“ mitwirkten, wobei Alex Lifeson (RUSH) sicher der bekannteste darunter ist.
TILES ist mit „Fly Paper“ ein überzeugendes Progressive Rock-Album mit starker Melodic Rock-Schlagseite gelungen, welches Anhängern von SAGA, RUSH, PORCUPINE TREE und auch DREAM THEATER sicherlich zusagen wird.
Publication: The Pit
Country Of Origin: Germany
Review Date: March 2008
Reviewer: Sascha Hennenberger
Wer an Prog Rock bzw. Prog Metal denkt, dem kommt dabei unweigerlich Rush, Dream Theater, Genesis, Porcupine Tree oder meinetwegen auch an Pain of Salvation, Death und Atheist in den Kopf. Dabei bedient man sich auch gerne dieser Namen, wenn es um Vergleiche geht. Bands aus diesem Muster haben es dabei meist sehr schwer, da manchen dabei die Orientierung fehlt.
Tiles aus den Vereinigten Staaten, die sich bereits 1993 gegründet und mittlerweile mit „Fly Paper“ ihr fünftes Album veröffentlichen, ist hierbei so eine Band, allerdings hat das Quartett dabei seinen eigenen Sound gefunden, der sich nach Eigenangaben aus Rush, Queensryche, Saga und Iron Maiden zusammenstellt.
Im Vergleich zum relativ düsteren Vorgängeralbum „Window Dressing“ (2004) erscheint „Fly Paper“ um einiges positiver. Zwar ist stellenweise noch eine leicht melancholische, bedrückende Stimmung zu vernehmen, aber Songs wie „Back and Forth“ (hier konnte man die bekannte Sängerin Alannah Miles einen Gastbeitrag abzugeben) oder „Crowded Emptiness“ (featuring Hugh Syme an den Keyboards) klingen ja fast schon radiotauglich.
Doch gibt es auch Verweise in die Vergangenheit, wenn es bei Stücken wie dem herausragenden „Sacred and Mundane“ (bei dem kein geringerer als Alex Lifeson von Rush ein Stelldichein abliefert), „Landscape“ oder der bedrückend, melancholischen Ballade „Markers“ (die sogar ein wenig an die Genrereiter Dream Theater erinnert) wieder deutlich düsterer klingen.
Allerdings Achtung: Richtig fette, mega verzerrte Gitarren sucht man hier vergeblich. Wer also wie bei Dream Theater und Konsorten auf ´ne breite Gitarrenfront hofft, tut dies vergebens, denn Tiles zählen hierbei deutlich zum Prog Rock, das sollte man nicht vergessen.
Mal davon abgesehen, zeigt man sich auf „Fly Paper“, das übrigens mit einem coolen Cover von Hugh Syme veredelt wurde und leicht provokant bezüglich dem Thema 11.09.2001 sein soll, sehr abwechslungsreich; zeigt sich sowohl eingängig als auch verspielt, fröhlich und melancholisch, direkt und komplex, was aber letztendlich auch die Stärke des Albums ist.
8 Songs des Kalibers „Hide in my Shadow“ wären dabei wirklich zu viel des Guten und zu anstrengend gewesen. Neben den bereits oben erwähnten Gastmusikern ist übrigens auch noch der kanadische Solo-Gitarrist Kim Mitchell bei dem Song „Dragons, Dreams and Daring Deeds“ zu hören. An renomierten Gastmusikern mangelt es auf „Fly Paper“ also keineswegs.
Fazit: Tiles haben hier ein starkes Prog Rock Album abgeliefert, das zwar bei Fans der härteren Variante progressiver Klänge etwas mehr Anlaufzeit benötigt, aber dennoch viel Spaß bereiten kann, da die Songs ebenso gut klingen, um es mal ganz banal auszudrücken. Wer nicht viel Wert auf verzerrte, megafette Gitarren legt, sollte hier auf alle Fälle mal ein Ohr riskieren und „Fly Paper“ eine Chance geben.
Publication: Metal Cry
Country Of Origin: Unknown
Review Date: March 2008
Reviewer: David Rodrigo
Toca hablar de uno de los grupos que han pasado más inadvertidos y han sido más menospreciados de los últimos años: Tiles. Digo esto porque un grupo de la calidad de Tiles, capaz de ofrecer unas canciones tan variadas y entretenidas, llenas de feeling y genialidad compositiva, se merece tener un reconocimiento mucho mayor. Buena prueba de su valía es la gira que hicieron junto a Dream Theater. Creo que esto lo dice casi todo.
Tras el fantástico trabajo que fue “Window Dressing”, Tiles presentan en este comienzo de año su nuevo trabajo, “Fly Paper” y lo hace desde la más pura madurez musical. La estructura de las canciones, su detalles, demuestran un enorme trabajo sobre el papel, que queda bien plasmado en temas de la talla de “Hide In My Shadow” o “Crowded Emptiness”.
“Sacred & Mundane” cuenta con un dinamismo impresionante y la fuerza de “Landscrape” dejan muy claras las posibilidades de una formación que, teniendo en cuenta su trabajo anterior, tiene poco que demostrar. Sus discos hablan de músicos virtuosos, compositores capaces y una gira junto a Dream Theater es señal de un buen directo.
Cuando llega el turno de “Dragons, Dreams and Daring Deeds” (que por cierto es impresionante) nos hayamos plenamente convencidos de estar escuchando a un grupo de categoría. Aunque no es excesivamente difícil distinguir algunas influencias en su sonido, como Rush o los propios Dream Theater, Tiles hace gala de un sonido en general bastante reconocible.
El disco lo cierra “Hide & Seek” bastante oscura y potente, más fácil de asimilar que la mayoría de sus antecesoras, a pesar de sus ocho minutos y medio de duración. Un tema muy bien estructurado y con una composición muy coherente y efectiva.
Si hay algo que se le pueda criticar al disco es sin duda la producción, que está lejos de ser mala, pero aún así no hace justicia al trabajo realizado en los temas.
Definitivamente, todo aquel que disfrute del rock y el metal progresivo no puede dejar pasar la oportunidad de escuchar “Fly Paper” ni de profundizar en la carrera de un grupo que espero pueda dar muy buenos momentos en un futuro próximo.
Publication: RushMessageBoard.com
Country Of Origin: USA
Review Date: May 2008
Reviewer: Andy Hatzos
It's no secret that Window Dressing was not universally well-received by the press. Much of the criticism was directed at the fact that the songwriting stretched out a bit – drawing from a large source pool of styles, and featuring a few long, complex tracks. While I understand some of the criticisms, I have never totally agreed with them. Window Dressing was a "grower" album that took me a while to get into, and I wonder if too many people gave up on it too easily. Once I was in, it was smooth sailing through a diverse album that featured some of Herin's best songwriting – especially on some of the longer numbers.
Drummer Pat DeLeon left after Window Dressing, and after a bit of a search, Tiles brought back Mark Evans to fill the slot. Evans played on Tiles' first three albums, so it was a homecoming of sorts. This provided a perfect transition for the band. While DeLeon's energy behind the kit will be missed, Evans' style is highly skilled, powerful, and also quite controlled. This fit was perfect for a band that was consciously looking to return to a more simplified sound – yes, one that is reminiscent of the albums released during Evans' first tenure with the band.
Despite the change in stylistic approach from Window Dressing to Fly Paper, one thing that has continued to develop – to a high degree of definition at this point – is the "Tiles" sound. This is meant as a high compliment. More than any of the influences present in their music, the sound is distinctly their own. Traces of this can be heard as far back as the self-titled debut, but Fly Paper has solidified it. The building blocks come from Herin's approach to the guitar – paying lots of attention to specific chord voicings, and tonal quality. Whittle's bass work adds much to the mix – he remains busy, which adds a lot of kinetic energy. He also uses a five-string, giving a bit of extra reach on the low end that adds distinction to the production and fills the sound out well.
Fly Paper features an array of guests; I won't name them all here, as I usually like to focus on the work of the band members themselves. Credit is due to Matthew Parmenter (Discipline), a long-time Tiles collaborator, who adds keys and vocals in a few spots. Of course, the Rush fan will undoubtedly be drawn to the list of credits in the CD booklet. Yes, Terry Brown produced the record. Yes, Hugh Syme designed the art (and plays keys in a couple of places). Finally, yes, Alex Lifeson himself threw down a bunch of guitars on the album's second cut, "Sacred and Mundane."
"Sacred and Mundane" is a standout track on the album; powerful, punchy, and catchy. Lifeson's work is dynamite, but the song is pure Tiles from start to finish – simply with another fresh set of ideas layered in to add to the arrangement.
Two other tracks that stand out are "Markers" and "Hide and Seek." "Markers" is a three-part suite that moves through a series of different feelings. Starting off slow and thoughtful, the song's middle section is as intense as just about anything else on the album. The closing section features some great interplay between Whittle, Herin, and Evans, as they move through a series of building chord changes. On one of the final runs through the pattern, a fast snare roll matches up with the start of a soaring guitar lead – no doubt reminiscent of the end of "Death of Mother Nature Suite" by Kansas.
"Hide and Seek" closes the album proper, with a main riff that indeed is a bit reminiscent of "The Spirit of Radio". The chorus features some great layering of guitar, vocal, and bass work – the harmonies and chord changes are spectacular. As the song progresses toward its middle and ending sections, the overall mood and tempo changes in the composition remind me a lot of a shortened-up "Checkerboards." ("Checkerboards," found on the second album Fence the Clear, is far and away my favorite Tiles song – so that's a good thing.)
Elsewhere, "Back and Forth" features some fun guitar work during the verses – one of the best riffs on the album. "Hide In My Shadow" opens the album with some punchy guitar licks, which are built upon as the track goes on. The guitar tone throughout the song is a little muddy in places, but the delivery is powerful and striking. The bonus track, "Passing Notes," is a touching piano ballad written by Whittle in memory of his mother. The poppy "Crowded Emptiness," with a sonic arrangement that strikes my ear as a bit awkward at times, may be the one average track on the album – but it's not bad. The production across the album is rich and full – with guitars in the forefront from cover to cover.
Lyrically, the album tackles themes relating to frailties, vulnerabilities, and dependencies that affect everybody. The artwork and album title were designed to fit in with the concept – a fragile paper airplane soaring over a bustling city. (Note that this is also the fourth consecutive album title to feature some sort of word play). Paul Rarick puts in a great performance, bringing the lyrics to life. His vocal style is atypical from that of a standard rock band's vocals, but it fits well with an ambitious band that straddles the lines between progressive rock, hard rock, metal, and pop. Rarick has had his critics, but the irony of the fact that there have been complaints about his vocal style on a Rush message board is not lost on me – lest I remind the fans that 90% of the music press dislikes Geddy Lee for the same illegitimate reasons.
Fly Paper is a great album by a skilled band – a band who has honed their craft into something distinctive and unique. Above all else, this is an album full of clever, creative, progressive hard rock.
Publication: MetalUnderground.com
Country Of Origin: USA
Review Date: April 2008
Reviewer: PorcupineTreeFan
In the world of modern prog-rock, bands like Dream Theater, Porcupine Tree, etc. have caught the attention of many old and new fans. Tiles is not nearly as well-known as the previously mentioned bands, but they have the prog-rock style down as well as the rest of them. Their prog style is unique because their music contains elements of both Black Sabbath and Led Zeppelin, yet they still manage to create their own sound. Tiles is not too hard on the ears, and would surely please both the older generation of prog heads as well as the new generation. The only thing I have a slight issue with is that the production/sound of the album is a little weak.
The first track, "Hide In My Shadow," does not waste any time getting the listener engaged in their sound. It proves to be a memorable track in its own right, but not as amazing is the track to follow, "Sacred and Mundane." The rest of the tracks flow nicely offering enough unique tracks to keep the listener engaged from start to finish, which should be the goal of any band. Another memorable song is "Landscrape." This track is a head-banging song, and even though it's nearly the shortest track, its riffs are a good time. "Markers" may be the most progressive of the song on "Fly Paper." "Hide and Seek" is an awesome closer, which ends heavy on the guitars, leaving the listener satisfied when it is all said in done.
Tiles is a unique prog-rock band with a heavy influence of old school hard rock. They have their fair share of guitar solos and riffs with plenty of melodic tones throughout the album. The production may seem a little weak, but it does give an old school sound to the album. If you enjoy old Sabbath, Rush, Zeppelin, or some of the more modern prog bands like Porcupine Tree, then you should give this band a try. Even if you don't like prog, per se, and you’re more of a straight-up hard rock listener, Tiles could still catch your attention with this release.
Publication: Metal.de
Country Of Origin: Germany
Review Date: February 2008
Reviewer: Dieser Artikel
Besser kann man ein Cover-Artwork nicht gestalten! Sticht einem zunächst vor allem die Doppeldeutigkeit des Wortes "Fly Paper" ins Auge, werden bei genauerer Betrachtung die politischen Dimensionen des Motivs deutlich. Ein Papierflieger über New York - völlig harmlos und unbedeutend, aber seit dem 11. September 2001 dennoch der Inbegriff einer verborgenen Bedrohung. Vielleicht stellt auch der Inhalt der Zeitung, aus der das fliegende Objekt gefaltet wurde, den entsprechenden Sprengstoff dar.
Einige der tiefgründigeren Interpretationsmöglichkeiten eröffnen sich dem Betrachter erst auf den zweiten oder dritten Blick. Das Gefühl menschlicher Verwundbarkeit transportiert das in düsteren Farben gehaltene Bild jedoch vom ersten Moment an. Hier wird nicht mit Plakativität gearbeitet, sondern mit scheinbarer Schlichtheit, eindringlich statt aufdringlich. Das ist auf seine Weise ganz große Kunst!
Doch eigentlich sollte der Schwerpunkt dieser Rezension auf der anderen, der musikalischen Kunstfertigkeit der Band liegen. Und auch die kann sich durchaus sehen lassen. TILES geben eine exzellente Mischung aus progressiver Rockmusik und vereinzelten Metal-Einsprengseln zum Besten, meist ausgesprochen melodisch und immer songorientiert. Wildes Instrumentalgefrickel sucht man hier vergeblich, die gitarrenorientierten Kompositionen sind straff gehalten und ufern selbst in den beiden Achtminütern "Dragons, Dreams & Daring Deeds" und "Hide & Seek" nicht aus. In Szene gesetzt wird das Ganze von Produzent Terry Brown, der unter anderem bereits mit RUSH gearbeitet hat und für einen gleichermaßen klaren wie natürlichen Sound sorgt. Stellenweise würde man sich etwas mehr Druck wünschen, ansonsten gibt es jedoch an der Aufnahmequalität nichts auszusetzen. Vermutlich dürfte Terry Brown auch den Kontakt zu Alex Lifeson hergestellt haben. Der RUSH-Gitarrist veredelt "Sacred And Mundane" mit seinem charakteristischen Gitarrenspiel.
Mit namhaften Gastmusikern hausieren zu gehen, haben TILES dabei eigentlich nicht nötig. Die Mannen um Gitarrist und Hauptsongschreiber Chris Herin verstehen ihr Handwerk und bringen ihre Songs hervorragend auf den Punkt. Catchy Hooklines dominieren das Geschehen, was im Falle von "Crowded Emptiness" sogar bis hin zu radiotauglichem Pop-Appeal reicht, ohne dadurch in allzu seichte Gewässer abzudriften. Das Niveau bleibt stets gewahrt.
Vielleicht mag der ein oder andere Song nicht hundertprozentig zünden. Vielleicht hätte die Band auch den Härtegrad durchaus noch ein wenig steigern können. Wer jedoch klassischem Prog-Rock voller Melodien, Herz und Verstand etwas abgewinnen kann, der sollte dieses Album einmal anchecken. Denn hier wurde mit viel Liebe zum Detail vorgegangen und - im Gegensatz zu vielen Genre-Kollegen - von überladenen Liedungetümen deutlich Abstand genommen. Ein starkes Album - und für das eingangs erwähnte Cover-Artwork gibt's noch einen Bonus-Punkt.
Publication: Classic Rock Revisited
Country Of Origin: USA
Review Date: Unknown
Reviewer: A. Lee Graham
With Fly Paper, Tiles has upped its game. Gone is the bloat that mired Window Dressing; in its place are tight songwriting, sharp instrumental passages and melodies marking this the Detroit act's finest hour since Presents Of Mind.
Things get rolling with "Hide In My Shadow," whose recurring riff should impress listeners both metallic and melodic. Paul Rarick's uncanny ability to maneuver his lyrics around dynamic time shifts make these guys stand out, as does Chris Herin's multi-instrumental mastery. From guitar and mandolin to banjo — yes, "Hee Haw" fans, banjo! — Herin proves any instrument can befit any genre. Creativity is the key.
Meanwhile, just try resisting "Back & Forth"'s danceable rhythm and strong backing vocals. "Markers" affords Mark Evans room to use his entire drum kit and explore its subtle shadings. Canadian rock legend Kim Mitchell appears on "Dragons, Dreams & Daring Deeds," with Rush six-stringer Alex Lifeson cutting through "Sacred & Mundane." As if that's not enough, the aural "green room" is further occupied by Alannah Myles ("Back & Forth") as well as Terry Brown and Hugh Syme, the Rush veterans whose producing and cover art skills, respectively, helped Rush fulfill its vision.
But this is Tiles, not Rush, and the Detroit quartet stakes its own claim with Fly Paper.
Publication: Rockline
Country Of Origin: Slovenia
Review Date: Unknown
Reviewer: Rok Podgrajšek
Tiles je ameriška skupina, ki že kar nekaj casa straši po svetu s svojo mlacno glasbo in ljudi spravlja v obup. Kar presenetljivo je, da so se znašli na nemški založbi Inside Out, ki podpira bolj progresiven metal in revitalisticen simfonicen rock. Tiles namrec ne spada v nobeno od teh skupin, kvecjemu bi jih lahko uvrstil med melodicen hard rock.
Kljub vsemu pa se Tiles niso zadovoljili le s tem, da bi ponovno navdušili le tiste, ki so njihove albume kupili že v preteklosti. Na pomoc jim je namrec priskocila kar lepa skupina znanih glasbenikov in mojstrov posla, kot so Alex Lifeson (Rush), Hugh Syme (Rush) ter producent Terry Brown (producent zasedbe (yes you guessed it) Rush). Tako so si ameriški gospodje zagotovili še vecjo izpostavljenost ne le v progresivnem rocku, temvec tudi v bolj trdem rocku. Torej se Americani izpostavljajo na vecih frontah naenkrat, a na koncu se ravno ta neodlocnost izkaže kot razlog za glasbeni neuspeh. Ni namrec neke osredotocenosti, ker naenkrat skušajo biti tako progresivci kot hard rockerji. Medtem, ko Rush to lahko storijo zelo uspešno, pa Tiles v tem pogledu manjka še kar nekaj prakse.
Glasba Tiles je vse prej kot neposlušljiva. Še vec, zelo hitro gre v uho, a kaj ko se napevi in inštrumentalni deli kaj hitro izrabijo in na koncu vidiš, da je bil ves album postavljen na šibkih temeljih. V glavnem pesmi sledijo istim vzorcem – nekaj hard rockerskih delov, nakar hitro sledi še kakšen pocasnejši del na akusticni kitari. Najprej se zdi, da bodo takšne kombinacije vnesle nek zanimiv energijski naboj v album, a se tam nekje na sredi opazi, da vse sledi nekim genericnim vzorcem. Za edino raznolikost poskrbi mellotron, ki se nahaja na Markers ter Hide And Seek. Vidi se, da so si Tiles zadali visoke cilje, ocitno zaenkrat za njih še previsoke. Želeli so biti všecni vsem naenkrat, a se prav lahko zgodi, da ne bodo všec ne hard rockerjem, ne progresivcem. Ves album je sicer odigran na visokem nivoju, glede tega sploh ne morem cesa kritizirati. Edino kar me morda nekoliko moti je vokal, ki je neka mešanica Jamesa La Brieja (Dream Theater) ter pokojnega Laynea Staleya (Alice In Chains).
Tiles s svojo glasbo ne bodo premaknili sveta, prav tako pa ne bodo naredili neke strašne škode. Njihova glasba nima nekega pravega naboja in samosvojosti, da bi jo lahko uvršcali med vrhunsko. V njej preprosto ni tistih elementov, ki bi jih dvignili iz povprecja. Še bolj pa je žalostno to, da se opazi kako se trudijo in skušajo biti novi in sveži. Na njihovo žalost pa izpadejo ti poskusi pateticno, ucinek pa je plasticen in umeten. Ne bom trdil, da na Fly Paper ni nicesar kar bi bilo vredno poslušanja. Še vec kot to, vecinoma so njihove pesmi zelo prijazne do ušes. A kot sem že dejal gre vse po že nekih ustaljenih formulah, ki dvomim da bodo uspele prepricati kakšnega avanturisticnega poslušalca. Kar dostikrat skušajo za raznolikost poskrbeti tako, da hitro preklapljajo med elektricno in akusticno kitaro, a medtem ko so Rush na svojem novem albumu Snakes And Arrows to poceli popolno naravno, so poskusi Tiles bolj prisiljeni. Kot da ne vedo kaj so – hard rockerji, progresivci, ali soft rockerji. Fly Paper je genericen in melodicen izdelek, ki me niti približno ni preprical.
Publication: Progressia.net
Country Of Origin: France
Review Date: Unknown
Reviewer: Dan Tordjman
Qu'il est dur de chroniquer un album de Tiles. Pourquoi ? Parce que lorsque ce groupe nous sert un nouveau disque, on ne peut s'empêcher de penser au somptueux Presents of Mind annonciateur d'un fort potentiel, mais qui fut suivi d'un Window Dressing fade et redondant. Et le groupe de Detroit, présenté alors comme le plus pur des héritiers de Rush retomba quelque peu dans l'anonymat. Par conséquent, les craintes furent légitimes à l'arrivée de Fly Paper.
A la première écoute, « Hide in My Shadows » ne nous rassure guère à l'entame de ce nouvel album. Malgré un riff de guitare à la Alex Lifeson assez intéressant, le soufflé retombe le temps du couplet pour regonfler sur les refrains. « Sacred and Mundane » se fait plus rentre-dedans, avec en prime Alex Lifeson en invité, mais de là à dire que sa seule présence transcende le titre à lui tout seul serait manquer de respect à Chris Herin et au batteur Mark Evans qui planent au dessus de leurs acolytes. Et que dire de ce « Back and Forth » et son refrain sur lequel la belle revenante Alannah Myles - souvenez-vous du tube « Black Velvet » - use de ses cordes vocales avec une simplicité et une beauté rares. Le disque démarre donc réellement au deuxième titre mais le quatrième, « Landscape », aurait très bien faire l’ouverture : extrêmement puissant avec un refrain évoquant Faith No More, Mark Evans s'en donne encore à cœur joie derrière sa batterie et parvient à faire oublier l'extraordinaire Pat De Leon.
On fait une courte pause avec l'exotique introduction de « Markers » avant de reprendre sur un thème plus dynamique. Ne boudons pas notre plaisir : ce disque est rythmé et c'est ce qu'il fallait pour pleinement l'apprécier. La pièce du boucher s'appelle « Dragons, Dreams and Daring Deeds », plus de huit minutes au compteur, dans la droite ligne d'un certain trio canadien. On se laisse transporter sans en perdre une miette : c'est un signe que le titre marche. De même, « Crowded Emptiness », très pop et probablement le plus carré des morceaux , contient mélodies et guitares accrocheuses, tandis que le final « Hide and Seek » constitue un autre lourd pavé, mais tendre sous la dent, à la partie centrale très intéressante.
In fine plus de peur que de mal. Tiles a su tirer profit des erreurs commises sur Window Dressing. Deux ombres majeures restent au tableau cependant : le chant de Paul Rarick manque de variété et demeure quelque peu monotone. Autre ombre, plus noire encore : comment Terry Brown l'homme à qui nous devons 2112 et Hemisphères ou Permanent Waves peut-il produire un album avec un son aussi étouffé, qui ne demanderait pourtant qu'à respirer ? Est-ce bien là l'homme dont on parle ou son homonyme ? Une question qui pourrait rendre difficile l'appréciation de cet album. Oreilles chastes ou trop propres, réfractaires à une production « sale » passez votre chemin. Les autres laissez-vous tenter.
Publication: Metal Temple
Country Of Origin: Unknown
Review Date: June 23, 2008
Reviewer: Dimitris K.
Since I am not an expert on the Progressive Metal scene TILES is something new for me and actually this review was the reason to meet them. So, I learned that this band hails from Detroit, Michigan and has made the debut entry to their back catalogue in 1994 with the homonymous album.
After a couple of CD spins I realized that the term Progressive Metal does not really apply to "Paper Fly". I am not talking about the ’Progressive’ part but for the ’Metal’ one; indeed the band has strong Rock foundations with some distinct RUSH influences to go with. The song structure is kind of complicated with many tempo changes and several melodic patterns but they don’t sound in any way overloaded. Just like the opening track "Hide In My Shadow" where the main guitar melody keeps the listener focused and guides him through the different music patterns that appear and grow during the audition. The album flows smoothly without surprises and this is a downside if you are a die-hard Progressive Metal/Rock fan. Of course I am referring to the fans of the current Progressive Metal scene that I believe has lost track and has become way too complicated for my ears.
Of course, the album needs additional spins in your CD player to grow and mature in your mind. If you follow this process then you will discover some PINK FLOYD elements scattered every where, like in "Markers", some DREAM THEATER touches in the vocals and the definitely RUSH feeling. The band manages to keep the listener’s attention and interest during the eight minutes of "Dragons, Dreams, & Daring Deeds" and "Hide & Seek" that comprises an excellent Blues meets Jazz guitar solo.
I think TILES have created an album that will remind to some of us that Progressive Metal is about making music for the shake of music and not for showing of one’s musical high skills. Personally, I have to give the band some additional credit because they managed to keep me interested despite the fact I have stopped following this scene for the last eight years or so.
Publication: WhatzUp
Country Of Origin: Unknown
Review Date: Unknown
Reviewer: Jason Hoffman
Detroit's own Tiles have been around since 1993, making a name for themselves as the next generation of progressive rock's flag bearers. This considered, it's only fitting that they recruit Terry Brown - who has produced such legendary bands as Fates Warning, Voivod and Rush - to produce their latest album, Fly Paper. His involvement has also furthered their "ode to the grandfathers of prog-rock" sound, giving enhanced depth to their already tuneful songs and intelligent compositions.
Don't let the fact that Rush guitarist Alex Lifeson pretty much co-wrote their single, "Sacred & Mundane," trick you into thinking that this band is a mere Rush rip-off. Indeed, Tiles are talented and mature enough to be able to take these influences and boldly pay homage to them while still making something that is very much their own. First consider the opening track, "Hide My Shadow," which has Rush-influenced vocals and guitar tones. The rhythms and intriguing melodies on this song take it in directions Rush would never dream of. Drummers will especially like "Landscape," a rough and rugged, angular song featuring amazing drum work to hold up an already impressive song that is sure to get your blood pumping. "Dragons, Dreams & Daring Deeds" includes a nice guitar solo by Kim Mitchell, not that Tiles are into name-dropping. Nay, this eight-minute song is full of twists and turns that will keep you glued to your hi-fi, eager to hear the next revealing guitar part regardless of which historic superstar will suddenly appear to add their shine to the mix. Speaking of shine, "Crowded Emptiness" is less dark than the rest of the album, having almost a "feel good summer movie" vibe about it, providing an uplifting finale to an excellent album.
While a bit darker than their previous four albums, Fly Paper is an excellent classic progressive hard rock album worthy of the many prog-rock illuminati that grace several of the songs (not mentioned above but included are Alannah Myles and Max Webster). There's heart in these songs, folks, not just intellectual musical exercises. And there's melody aplenty. And guitars. Lots of heavy guitars, but not so heavy as to scare the kiddies. Oh, and some keyboards, but again, not so many as to make you think very special guest Yanni has broken into the studios. Did I mention that there are tons of astounding guitar solos? If you're one of those fans who can't get enough 80s mainstream progressive hard rock, well, you need to pick up Fly Paper immediately.
Publication: Rock Pages
Country Of Origin: Germany
Review Date: Unknown
Reviewer: Dimitris Kazantzis
The fifth album by Tiles is probably what the fans had been expecting from their favorite band. The maturity of the Americans is obvious while the musical ingenuity is evident in this very well-crafted record. Tile are considered by many to be the successors of Rush. One has to be careful, though, with such characterizations and pay more attention to all the factors that lead to the final result that goes by the name of “Fly Paper”. Terry Brown (Rush, Fates Warning, Dream Theater etc.) handles the production and the sonic outcome is absolutely crystal clear. Special guests include Alex Lifeson (Rush) on the guitar, Kim Mitchell and a familiar face from the past, Alannah Myles who put all of them their stamp on the album.
Notice or even better admire the excellent cover and back cover of “Fly Paper”, a piece of art by Hugh Syme (just put it right beside Queensryche’s “Sign Of The Times”) who contributes his keyboard talent on two songs of “Fly Paper”. And these are not the only guests…
All of the aforementioned elements help to bring about a perfect result, but the lion’s share belong of course to Tiles.
Publication: Maelstrom
Country Of Origin: Unknown
Review Date: Unknown
Reviewer: Avi Shaked
Fly Paper is the latest offering from Detroit prog/hard rock outfit Tiles, active since 1993. A glance at the album’s credits revealed Terry Brown, famed for his work with Rush, in the producer’s chair. If such an association causes you to anticipate a fresh take on Rush’s work, Fly Paper will live up to your demands.
The deadly riff with which the album opens signals that Tiles is indeed Rush derived — a direct and alarming riff, synced with a robust bass line and laying the ground for some of the most melody-driven hard rock in quite a while (that lasts the entire album, that is). Acoustic guitar appears as the first verse starts, without clouding the heavy, electric atmosphere; the song, quite like those that follow, relies on twists of this sort to keep your attention throughout.
Putting aside the under-produced drums, most Rush fans would agree that this energetic, modern album also amalgamates a bit of the band’s electro-acoustic ‘70s sound with the punchy yet confined songwriting of the early ‘80s. In fact, Fly Paper is not totally unlike Rush’s recent material, but it manages to sound more gutsy and truthful due to its immediacy. If that’s not enough, then the fact Rush’s own Alex Lifeson guests on guitar (on "Sacred and Mundane") might help to convince you of Tiles’ high rank.
Still, a warning is required. The high impact songs aren’t as thought provoking as classic Rush material; and despite the well structured compositions and first class hooks, the less demanding vocals (when compared to Geddy Lee’s, which are an acquired taste) and some slightly fawning segments (like the first half of "Hide and Seek," until the aerial keyboards enter) may bring a mainstream rock connotation to mind. (8/10)
Publication: Blast! Magazine
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
"In the Footsteps of Rush"
In the 15th year of its existence, the Detroit group Tiles has just presented its fifth album, Fly Paper. This clearly shows that the band does not release new recordings all that often, which you nonetheless gladly put up with if it results in such first-rate albums as Fly Paper. Musically, Tiles are similar to bands such as Spock’s Beard, the short-lived all-star project Transatlantic, and especially Rush; you could even go so far as to consider Tiles the little brothers of the Canadian prog heroes. Thus, it is surely no coincidence that the producer of Fly Paper, Terry Brown, was also responsible for refining the sound of several Rush albums. Further, the magnificent cover was designed by Hugh Syme who has also worked for Rush before and who even appears on one track of Fly Paper as a guest keyboarder. To top it all off, none other than Alex Lifeson, the famous magician on guitar of - you guessed it - Rush was also involved in the creation of the album. However, in spite of all these parallels, one thing is beyond dispute: the eight songs included in Fly Paper are, without exception, small, wonderful gems which deserve heightened attention. In addition to folks who enjoy sophisticated, intricate arrangements, we would suggest that all those who go for hot melodic hard rock for once dare to have a listen. The following titles are especially noteworthy: "Hide in my Shadow," "Back & Forth" (with the participation of another renowned guest, vocalist Alannah Myles), "Dragons, Dreams & Daring Deeds", and the fabulous final track "Hide & Seek".
Publication: Breakout Magazine
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
It has taken yet another four years for the Americans finally to present the successor album to "Window Dressing." In previous reviews, the group's proximity to Rush, in terms of sound and production, was critically noted from time to time. Similar comparisons will presumably again be made, at least with respect to the opening track, "Hide in my Shadow." Already in the second piece, "Sacred and Mundane," Alex Lifeson of Rush makes an appearance (as do Alannah Myles and Kim Mitchell in other tracks), and the producer of Rush was brought on board again as executive producer. He had been responsible for the sound of Queensryche or Fates Warning's "A Pleasant Shade of Grey" and, also, for the 1991 Album of Voivod, and, moreover, had been at the controls with the Albums "Fence the Clear" and "Presence of Mind." According to the band’s press release, he was to "produce polished and yet organic recordings," as he did with the Rush album "Permanent Waves." However, you would definitely not do justice to Tiles if you were to be just looking for elements reminiscent of Rush or perhaps Fates Warning (or perhaps the earlier Spock's Beard?). To be sure, these elements do shine through every now and then with a sly wink, however, Tiles have become much too independent, their compositions are much too compact and multi-faceted, to make comparisons worthwhile. In contrast to their 2004 album, the group presents itself more oriented toward vocals, at times almost groovy, with greater distance to epic tendencies than in earlier albums. Songs like "Landscape" or the slightly-more-than-eight-minute-long "Dragons, Dreams & Daring Deeds," which oscillates between calm or rock-like grooving phases and prog-like passages, show a band which appears to have reached the next level, even if the track "Crowded Emptiness" does not quite reach that level. The album comes to a close with an ingeniously grooving "Hide and Seek," in which guitar and a fresh bass culminate in one fantastic finale.
Publication: Darmstadt Echo
Country Of Origin: Germany
Review Date: February 8, 2008
Reviewer: Unknown
Transcription: Al Grabenstein
The progressive rock genre proves yet again completely indestructible and resistant in the face of all contemporary trends. Again and again, this sea of science fiction, psychedelic, and technical capabilities gives rise to a band which adds a little something new to the genre. Tiles, led by Chris Herin, have been traveling through the scene since 1993, yet now, with "Fly Paper," they have succeeded in creating a kind of master piece, an opus magnum. Sure in their approach as never before, the quartet stirs up a mix of Pink Floyd, Rush and Queensryche, with excursions into one or the other direction evidently being part of the concept. Thus, in "Sacred and Mundane," they lift off into hovering prog rock spheres, and you can clearly hear that Alex Lifeson of Rush is in the mix. By contrast, in "Landscape," they push a modern metal sound, and in the epic "Markers," they nearly come to a stop before the song tentative-forcefully breaks free. In this sophisticated fashion, Tiles wind their way through an album rich in different musical styles that offers much that is worth discovering.
Publication: Eclipsed
Country Of Origin: Germany
Review Date: February 2008
Reviewer: Unknown
Transcription: Al Grabenstein
Rating: 6 of 10 points
In their fifth album, the men from Detroit around Chris Herin, songwriter-in-chief and lead guitar, limit their penchant for epic long tracks, of which they apparently had their fill in their last album, "Window Dressing," to a maximum length of eight minutes and instead refine their guitar sounds even more. In a total of eight songs, produced by Rush sound engineer Terry Brown, drums and breakneck string riffs chase each other, well packaged in hard rocking, yet quite catchy songs, even if they shine every now and then with unusual rhythm sequences. With their dominance of guitars, Tiles are reminiscent of jam bands such as Umphrey's McGee, while the six-string sounds give rise to thoughts of Led Zeppelin ("Hide in my Shadow," "Dragons, Dreams and Daring Deeds"). Every now and then there is the sound of a mandolin ("Sacred & Mundane"), then some Latin American flair, however, unfortunately, always much too brief. In general, the sound of the album remains all too uniform to be really able to convince completely.
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
For their fifth studio album, the Americans around guitarist Chris Herin again got together with producer Terry Brown. The result was the probably most ambitious work of the progressive rockers from Detroit so far. "Fly Paper" offers contemporary progressive hard rock with profound melodic structures and a basically rather somber mood. Overly lengthy tracks are avoided and, thus, the eight songs range between three and eight minutes in length. In spite of a high degree of progressivity, the material only very rarely comes across as overdone. That Tiles do not model themselves on their competition becomes all the more evident, the more you work your way into the new album. "Landscape" is one of those songs that are immediately catchy and it literally latches on to your mind with its powerful bass play and driving woofer rhythm. Interesting song structures and changes in rhythm complement each other splendidly in "Back & Forth," which represents one of the most accessible songs on the album. None other than Alannah Myles is one of the guest contributors to the album. "Fly Paper" is very solid "progressive food" and again confirms the band’s already significant status.
Publication: Empire
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
The group Tiles belongs, without ifs, ands or buts, to the absolute insiders' tip in the house of InsideOut. However, considering the fact that the current CD, "Fly Paper," turned out terrific, this status should change soon. When writing down a review, one is all too easily tempted to open certain drawers in order to be able to categorize the whole matter and be done with it. Well, in the case of "Fly Paper," I would quite often use the Rush-drawer, every now and then the Dream Theater- and perhaps also the US-American-melodic-rock drawer. But precisely this approach would probably be too simple. To be sure, Tiles really do not make it easy for the listener, and thus the boys again offer us their complex mix of prog rock, metal and a few melodic boilerplate tracks. The eight titles satisfy fully with their high musical ambition and warm sound. None other than top producer Terry Brown, who, as is well known, has worked with Rush before, has done an excellent job with the current disk. And since I’m already mentioning well known names, I also ought to refer to the list of guest musicians. There you’ll find, among others, Kim Mitchell, Alannah Myles und Alex Lifeson. "Fly Paper" must be absorbed repeatedly, and the album grows and grows and grows. For me "Fly Paper" is the first thunderclap of the year 2008, and I assert that other releases will find it damn difficult to come close. Very well done!
Publication: Heavy
Country Of Origin: Germany
Review Date: February/March 2008
Reviewer: Martin Kosbab-Zillmann
Transcription: Al Grabenstein
If one band has steadily walked in the footsteps of Rush, it is Tiles who with "Fly Paper" have now released their fifth studio album. The band's front man Chris Herin and his boys have once again released eight songs (nine on the Limited Edition CD) which will put a smile on the face of every fan of the Canadians. This is not to say that Tiles are a copycat band, but rather that the Americans go to great lengths to be honorable stewards of the heritage of Rush. In this task they are helped not just by the guitarist of the Canucks, Alex Lifeson, but also, in Hugh Syme, by the in-house designer of the trio. Since yet another prominent guest, wonder-voice Alannah Myles, also appears on "Fly Paper," there is no shortage of variety, which is why prog fans can rest assured and should grab the CD, in spite of a few somewhat trivial passages.
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 2008
Reviewer: Eric Harabadian
Detroit-area band Tiles has explored many facets of original rock having embellished its basic guitar-centered sound with banjo & mandolin, violin, keyboards, and ethnic percussion. Previous works have demonstrated a willingness to take creative chances and follow their muse. With Fly Paper, that progressive aesthetic remains but has been refined via tighter song arrangements and a more direct lyrical approach. Previous disc Window Dressing veered into uncharted waters with extended jams, the use of brass, and acoustic piano etudes. Here we have a return to Tiles' original early-90's origins, featuring bona fide rockers including "Hide in My Shadow" and "Landscrape." Former Rush producer Terry Brown is back, enlisting help from guitarist Alex Lifeson on the incendiary track "Sacred & Mundane." Other guest stars include vocalist Alannah Myles ("Black Velvet") and former Max Webster guitarist Kim Mitchell. Album designer and keyboardist Hugh Syme, percussionist Sonya Mastick, Discipline multi-instrumentalist Matthew Parmenter, and vocalist Nate Mills round out a distinguished cast of session players that truly makes this one of Tiles' best and most well-rounded works to date.
Country Of Origin: USA
Review Date: January 2008
Reviewer: Bill Knispel
Detroit’s Tiles is back with a vengeance on Fly Paper, their fifth album (and first studio effort in four years). The album reunites the band’s ‘classic’ line-up for a full-length collaboration for the first time since 1997’s Fence the Clear. Original drummer Mark Evans (last heard on a Tiles album on parts of Presents of Mind, released in 1999) is joined by founder members Chris Herin (guitars, keyboards), Jeff Whittle (bass) and Paul Rarick (vocals) on 8 tracks of diverse and heavy progressive rock, with nods and winks to 1970’s hard rock that sound genuine, not forced.
Past efforts have been compared to Rush, for reasons both fair and unfair. The fact that Terry Brown has produced or mixed the majority of their efforts has led to a sound that often shares similar sonic touchpoints to Rush’s material, while earlier albums have perhaps exhibited a bit of influence in songwriting that may have made some listeners uncomfortable, worried that it was more imitation than influence. As the band has grown and, yes, progressed, these influences have fallen further to the side, and on Fly Paper, Tiles showcases material that is well and truly theirs.
Tiles opens their 5th studio album with a crunch and a bang; “Hide in my Shadow” is a tasty rocker with loads of distorted guitar and a punchy, insistent drum line that pushes the song forward. Paul Rarick’s vocals are pleasant, layered and multitracked to add richness to the mix. As a statement of purpose informing the listener that Tiles is back, “Hide in my Shadow” works wonders. A deceptive acoustic opening leads into a second blast of hard rock power. “Sacred and Mundane” as a title features some of the same kind of wordplay that would entice and excite Rush’s Neil Peart. The track is a fantastic rocker, with Mark Evans’ drumming adding flourishes under a thick mix of guitar and bass courtesy of Chris Herin and Jeff Whittle. The occasional forays into acoustics add to the song, showcasing a band that deserves far more attention in a world full of Spock’s Beard and Flower Kings-influenced bands than they get.
Continuing a tradition that stretches back to 1999’s Presents of Mind, “Sacred & Mundane” features a guest musician...none other than Rush’s Alex Lifeson, who adds some fantastic acoustic and electric guitar parts (the band says all the predominant guitars on this track are Alex’s). Lifeson is not the only special guest performing on Fly Paper, either; Max Webster’s Kim Mitchell contributes to the semi-epic “Dragons Dreams & Daring Deeds,” Alannah Myles (“Black Velvet”) adds her distinctive vocals to “Back & Forth,” and Hugh Syme (the cover artist) contributes keyboards on “Crowded Emptiness.” Above and beyond this impressive coterie of guests, Nate Mills (vocals), Sonya Mastick (percussion), and discipline frontman Matthew Parmenter (vocals, keyboards) contribute throughout (of note, this is the third collaboration between Parmenter and Tiles).
Another play on words, “Landscrape” bursts from the speakers like an angry beast, all claws and teeth snapping and cracking and growling. The mix is bass heavy and filled with crunchy baritone guitar sounds, perhaps one of the band’s heaviest efforts to date. One of the shortest compositions on Fly Paper at just 4:33, this is a song that in a perfect would be getting all kinds of airplay on modern rock radio. Certainly more interesting than anything currently in heavy rotation, it is every bit as heavy as your Stone Sours or Hinders or what have you. Lest one think Tiles is all rock and roll and heaviness, “Markers” shows the band exhibiting a gentleness and restraint that shows their diversity while also making the heaviness all the more heavy. This is not a toss off track by any extent of the imagination; the opening two minutes are all about passion and honesty in delivery, while the quicker bits that evolve out of this still feel like the same song, rather than two disparate compositions glued together out of necessity. There’s a sense of melancholy pervading this track…world weariness and sadness drip from Paul Rarick’s vocal delivery, while Herin’s solos are down in the mix, sounding almost ghostly and adrift in the mix.
An alliterative title to be sure, “Dragons, Dreams & Daring Deeds” is one of the album’s most expansive compositions, clocking in at just over eight minutes. Crunchy guitar alternates with layered vocalese as the track opens, with instrumental showcases dominating the stage. Herin shows himself to be equally adept and bluesy, bent note playing and glistening, Police-like atmospheres. Whittle and Marks lay down a thick, deep groove, while Rarick’s tenor vocals are fragile, soaring over the shifting musical landscape beneath him. One might think this could have been included on the band’s 1999 release Presents of Mind, as it feels very similar stylistically to their 14-minute epic “Reasonable Doubt” from that same album, yet this should not be seen as evidence of a band repeating themselves. Rather, it feels more like a band taking a fond look back at where they came from while moving forward at the same time. The additional time given to this track allows it to develop a little more, moving in different directions while also maintaining the elements that make Tiles the band they are.
Fly Paper closes with the “Hide & Seek,” the album’s longest track. This piece sees the band moving back toward the heaviness that typified the opening half of the album, mixed with just a touch of light and shade. One thing that has impressed throughout is the richness of Chris Herin’s guitar playing throughout; rhythm work is thick and crunchy without losing definition, while his soloing has just the right touch of hotness to cut through without breaking up. Rarick’s vocals are a joy to listen to as well…alone, his clear tenor is one of the best in the genre, while layered and choir-ed, well…it’s like a host of angels singing for you. The song almost seems to shift gears around 3:30 in, as the band fades away, making room for acoustic guitar, synth and gentle vocals. “Hide & Seek” is an incredibly diverse track, showcasing all the styles and musical colours Tiles can bring to bear.
Heavy and willing to get in your face, while at the same time just as likely to pull back and show gentleness, Tiles is a band that will impress a wide range of progressive music fans. Fly Paper is perhaps their strongest effort to date, meriting a closer look and repeated listens.
Publication: MusicConnection.Com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Eric A. Harabadian
Detroit-based band Tiles are poised to put themselves on the map with this release. Terry Brown, who has worked on some of their previous releases, is back and the former Rush producer enlists none other than guitarist Alex Lifeson, along with vocalist Allanah Myles (“Black Velvet”) and Max Webster’s Kim Mitchell to help out on various tracks. The result is an album that remains true to their artistic vision while exhibiting a more primal and radio-friendly edge.
Publication: Ytsejam.com
Country Of Origin: USA
Review Date: January 2008
Reviewer: Tommy Hash
A truly unique band, ‘progressive’ in their motives of technical tendencies, but 100% hard rock all the way. Now on album number five, Detroit’s Tiles has shown growth, and on their last record, Window Dressing, there was this expansion of production that really showed what the band could do outside of their tight power trio + lead singer groove (which included ‘epic’ tracks), but now, Fly Paper has brought the band back to basics, and there are no complaints, as they still play the infectious melodies we have always loves them for.
Featuring Terry Brown (Rush, Fates Warning) behind the board as the producer, Fly Paper is devoid of the overzealous use of keyboards or long improvisations for more sensible precision that focuses on music that ‘rocks out.’ Opening the record is the compelling “Hide in My Shadow,” where the semi-staccato lead guitar plays up against the high string acoustic six string attack – leading into this grinding, in-your-face tune that sets the tone for the rest of the record; other cuts such as “Back & Forth” (feat: Alannah Miles), “Markers,” & “Dragons, Dreams, & Daring Deeds” (feat: Kim Mitchell) follow the same hard rockin’ formula with the grittiness playing against smoothed out melodies. The acoustic “Crowded Emptiness” is one of the few songs to features keyboards (played by cover artist Hugh Syme) and is reminiscent of what could be a long lost tame Porcupine Tree cut, while aggression is put in full force with “Markers.” Another tune of note on Fly Paper is the furiously sophisticated & heavy “Sacred and Mundane,” which features a very special guest that added a personal touch to the Tiles classic, and even with Alex Liefson’s presence, this is by no means a Rush rip-off, it’s a Tiles tune front to back.
The many guests on this record added to the diversity and it’s the ‘balls to the wall’ stance that keeps the record filled with hard rock gusto. Fly Paper is further proof that Tiles has profoundly set their own existence in the world of rock and roll, whether it be progressive rock or heavy metal, this quartet executes a melodic stance that so few bands have been able to create, being one of the true innovators of hard rock over the past decade; it is time that the world takes note.
Publication: Metal Express Radio
Country Of Origin: USA
Review Date: January 2008
Reviewer: George Fustos
Right from the start of the new Tiles release Fly Paper, it is quite obvious the album has many undertones of the band Rush incorporated into their latest work. As you get deeper into the rest of the tracks, it will become even more apparent. Now, before anyone thinks they are copying Rush, that is not the case at all. In fact, even though they are highly influenced on this release, the Tiles actually have a different kind of feel to their music. One interesting note is that while many different artists that make guest appearances, seven to be exact, Alex Lifeson himself (from Rush-no kidding) does appear on the second track “Sacred And Mundane.” Terry Brown (producer and leading sound engineer) approached Alex about making a guest appearance on the album. After listening to some of the new material, Alex liked what he heard and decided to take him up on his offer. So, before Rush went out on their last Snakes And Arrows tour, Terry went to Alex’s studio and the two of them worked painstakingly to produce the magic one hears on the track. The band was so impressed by the amount of work Alex put into the song, they said it was beyond and above the call of duty. What else can you expect from a musician from Rush … come on now, really!
The band Tiles has been around for some time now, since 1993 to be exact. This is their fifth studio album, not to mention one live recording. The Tiles are a Detroit, Michigan-based band and its members are Chris Herin (guitars), Mark Evans (drums), Paul Rarick (vocals), and Jeff Whittle (bass). This quartet can surely create some special music, which fans of Prog-Rock will enjoy.
The album consists of eight phenomenal compositions, plus a bonus track that will be on the initial pressing. Besides Alex Lifeson doing his magic on “Sacred And Mundane,” there is vocalist Alannah Myles on “Back And Forth,” Hugh Syme playing keyboards on “Crowded Emptiness” and “Passing Notes” (the bonus track), and guitarist Kim Mitchell on “Dragons, Dreams & Daring Deeds.” The band also had a few other friends join in to contribute their talents: Sonya Mastick on percussion, Matthew Parmenter on keyboards, plus a vocal cameo from Nate Mills.
“Hide And Seek” is the longest track on the album at 8:31 minutes and probably the most intense stylistically. Arrangement-wise, it's probably the most difficult to play with all the time variations and changes throughout -- a true Rush type compilation if there ever was one.
Fly Paper is fresh, creative, intriguing, lyrically emotional and powerful, musically impressive and talented, and incredibly suitable for today’s world. This quartet has done something unique here and it's definitely worth picking up and giving it a listen. If you love Prog-Rock or Prog-Hard Rock with some subtle Melodic undertones here and there, or if you are a huge fan of Rush, then this is a must. Put it on your list at once!
Publication: Room Thirteen
Country Of Origin: USA
Review Date: February 2008
Reviewer: Paul Chesworth
If you’ve never heard of Tiles, where have you been living for the last fifteen years. Founded in 1993, Detroit based Tiles is made up of Chris Herin (Guitar), Paul Rarick (Vocals), Jeff Whittle (Bass), and Mark Evans (Drums).
‘Fly Paper’ is Tiles latest and fifth album, and has been a while in coming. Mark Evans, once original drummer, returns to the stool to replace the departed Pat De Leon. It’s a good thing Mark came back to the fold as comparisons to Spinal Tap would be made.
Anywho, Tiles have been rightly or wrongly tagged with being ‘Rush’ clones. Some may say rightly so, especially when such luminaries as Terry Brown (Rush producer, also Fates Warning), Hugh Syme (Keyboards and past Rush artist aplenty) are involved in the project. Even utilising Brown’s address book to utilise Alex Lifeson on ‘Sacred & Mundane’
But also wrongly so as Tiles make reference to other progressive masters, Pink Floyd, Jethro Tull and even Queensryche, Porcupine Tree and Dream Theater. The songs can be perceived either way, but in my opinion they are a very strong collection of songs worthy of any band, let alone Rush. Dare I say it, even messrs Peart, Lifeson and Lee would be proud to have written some of the songs on offer.
Tiles also carry on the tradition dating back to their 1999 cd ‘Presents of Mind’ brining in other guest musicians. ‘Fly Paper ‘ features an impressive roster of special guests including Alannah Myles on vocals, Kim Mitchell (Max Webster) and Alex Lifeson (Rush) on guitar; Hugh Syme on keyboards; Matthew Parmenter (Discipline) keyboards and vocals (not for the first time, and is almost becoming a fifth member of the band); and Sonya Mastick on percussion.
The cd kicks off with the excellent ‘Hide In My Shadow’ a choppy riffed intro, moving to acoustic, with Paul’s layered vocals suiting the song excellently with a melodic chorus. Lifeson picks up the lead on ‘Sacred and Mundane’ with a definite Canadian influence, acoustic at first, then hard hitting with a distorted wall of sound, featuring the unmistakeable Lifeson guitar sound. Alannah (Black Velvet) Myles helps out with her distinctive sound on ‘Back and Forth’., before one of the highlights for me, as its one of the heaviest songs Tiles have ever performed in the play on words, ‘Landscrape’ complete with moody, heavy riffs, and a good choice for a second single. The second half is as equally as impressive as the first, ‘Markers’ defines the band, showing their diversity. ‘Dragons, Dreams, and Daring Deeds’ is expansive and ‘Hemishperes’-like in its sound. Final track ‘Hide & Seek’ is the albums longest track, and contains a hidden bonus track which isn’t on this promo. The song is a delight and changes pace at the 3:27 minute mark, lighter, technical, with great guitar interplay with Paul’s vocals.
Weakness is not a work in Herin’s dictionary. All songs are powerful and should be on any rock fans wish list. Hell, I got the promo for nothing, and I’m still going to buy it.
Tiles have given us an album, which is proggy, both melodic and heavy in places, subtle and gentle in others, polished all round and even managing to be ‘stripped down’ in the process taking me to the late 70’s and beyond and similar to ‘Permanent Waves’ in its approach. 2007 was a great year for progressive rock, and Tiles ensures 2008 gets us off to the same great start.
Tiles have enough style and panache to stand on their own two feet. As a label ‘Inside Out’ have a roster of bands to be damn proud of, and I cannot think if a previous release over the past couple of years I did not like, and with ‘Fly Paper’, this excellent tradition continues. All hail ‘Inside Out’, all hail ‘Tiles’. Please carry the prog rock fight to the world, and let’s look forward to the next Tiles album, maybe even a tour, guys?
Publication: Lords Of Metal
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Winston
And so it took no less than four years before a new Tiles album saw the light of day. Quite a long time, especially when you're a fan of course. But at least you know that they are fumbling on a new one and a new one never disappoints. Many prog metal bands are being compared to Dream Theater but with Tiles there's just one name that keeps rearing its' referential head and that is Rush. The later styled Rush that is. The band doesn't seem to mind that at all, in contrary because they booked Terry Date, a former Rush producer and furthermore Rush guitarist Alex Lifeson himself drops by in the song 'Sacred And Mundane'!
Even the album artwork is reminiscent but to say that Tiles is copy is way too far fetched. Bands like Jethro Tull, Iron Maiden and Queensrÿche are also mentioned as influential and they are well chosen I think. They chose for a more compact concept this time. Less focus on epics, shorter and more direct songs, translating the feeling of the band today I guess. Singer Paul Rarick doesn't have a unique voice to make Tiles unmistakeably recognizable. The trained listeners won't have any trouble recognizing this as a Tiles album. By the way; do-you-remember-her Alannah Myles sings in on 'Back And Forth', an unexpected surprise. The whole album is varied and with that very enjoyable. Not quite a super flashy album but in some way that wouldn't fit anyway with Tiles. Fan of the later Rush? Add 'Fly Paper' to your collection is my advise.
Publication: Glory Daze
Country Of Origin: USA
Review Date: February 2008
Reviewer: GlazeGod
Background:
Back in 2004 we threw the virtual pen at Tiles' fourth studio recording 'Window Dressing'. We noted all the Rush comparisons. Clever album titles combined with Hugh Syme like cover art. Terry Brown's involvement with the band (continuing here too I might add - with production duties), plus of course, all the Rush like musical comparisons - which for the most part might be considered a little unfair, but hey, when you live at the fountain of Xanadu it's inevitable that something similar will come out in the drink.. Progressive rock and the Motor City 'Detroit' to my way of thinking don't quite combine that well. Is it the oil and water thing? I don't know, but I always thought Prog was best heard coming out of British Cathedrals or small quaint villages in Norfolk or something. Whatever the case, Messrs Rarick, Herin, Whittle and now Evans (a previous member of Tiles I've been told), are doing their best to add another musical genre to come out of that fair city - other than MC5, Stevie Wonder plus all those other Motown cats and Bob Seger. Good luck to them. Firstly, gotta love the cover art. Very clever and witty. I wonder if Boeing will sit up and take notice? Secondly, eight tracks of tight unrelenting hard rock with a prog flavor - not the other way around. Big kudos for getting a name 'cast' of guests turning up to play. Good one Terry! Some Canadian heroes popped into the studio for some hang time, notably Alex Lifeson (Rush), Kim Mitchell and Alannah Myles.
The Songs:
One gets the impression that Tiles are willing to experiment a bit more than perhaps they did in the past. I don't think they have to prove anything to anyone but themselves, and it's in the quality of the new songs that judgment will be passed. The band are fusing elements which made Rush, The Police and to a lesser degree Kings X so popular. Take the first two tracks for instance: 'Hide In My Shadow' and 'Sacred And Mundane'.. you can certainly hear Rush influences in there, but it isn't a Rush song per se. 'Sacred And Mundane' by virtue of Lifeson's appearance would automatically be guilty by association but on deeper inspection, again this is not the case.. the song much more complex and percussive than most. 'Back And Forth' has a jangly appeal while 'Landscrape' is a virtual pot-pourri of sound with a combination of angst, moodiness, confusion and brashness all combined in one. By contrast, 'Markers' is as soothing as a pot of Chamomile tea for the first part, though we do eventually gravitate to the Gin by songs end! Probably one of the album's most challenging tracks is 'Dragons, Dreams And Daring Deeds'. This song never seems to settle, it is always on the edge, the relentless back-beat of drums keep things ticking over. 'Crowded Emptiness' is the most commercial offering on the album, fusing acoustic parts to subtle layers of keyboards. 'Hide And Seek' finishes up the album. At eight and a half minutes, Tiles demonstrate their chops for all to see circa 2008. Remember back in 2004, they put a 17 minute epic as their opening track. Thankfully they've resisted such temptations this time around, and kept it to half the time, though no less interesting.
In Summary:
At a whiff under 50 minutes, the whole album is easily digestible. With eight tracks only, there is no over-extension as one might expect from bands in this genre. To their credit, Tiles have kept this affair predominantly a guitar-based one, with no real over-use of keyboards. It's not stripped back to bare bones, but keys are used to supplement the sound rather than dominate. A pretty talented lot who have now been around since 1993.. fifteen years in the game and only five albums? What gives? This is looking remarkably like a case of Boston and Def Leppard like regularity of output.. haha.. just kidding!
Publication: Rock Report
Country Of Origin: Belgium
Review Date: February 2008
Reviewer: C.L.
First of all I’d like to thank Zane Petersen of CD Inzane (located in the US) for sending me a review copy of Tiles’ fifth studio album.
Tiles is a progressive rock band from Detroit, Michigan that takes its time to write and record an album. Fans of the band had to wait a little less than four years for this follow-up of 2004’s “Window Dressing”, which was actually a quite dark and demanding progrock album. Band leader Chris Herin was aware of that too and wanted to continue in the direction the band was heading at with the third album “Presents Of Mind” (1999). Says Herin: “We made a conscious attempt to keep our epic tendencies in check – since we had thoroughly exorcised those demons on ‘Window Dressing’. We wanted ‘Fly Paper’ to have an accessible song-oriented, almost melodic rock focus.”
After having mixed “Fence The Clear” (1997) and “Presents Of Mind”, “Fly Paper” is the second album in a row, for which the services of producer Terry Brown were enlisted. Band and producer have built up a strong working relationship by now and Brown “helped the band crafting a polished, yet organic recording”, as Herin puts it. As a result, the new album sounds much more accessible and powerful (read: more guitars and less keyboards) than its ‘difficult’ predecessor.
The eight songs on “Fly Paper” are connected by a theme of human vulnerability. After having discussed the lyrics with cover artist Hugh Syme, he came up with this simple yet disquieting (remember 9-11?) paper airplane that is floating over New York City. It’s another fine cover from my favourite cover artist of all times!
Guesting on “Fly Paper” are such luminaries as Rush’s Alex Lifeson (guitar on “Sacred & Mundane”), Sonya Mastick (percussion), Nate Mills (vocals on “Landscrape”), ex-Max Webster’s Kim Mitchell (guitar on “Dragons, Dreams & Darling Deeds”), Alannah Myles (vocals on “Back & Forth”), Matthew Parmenter (keyboards on “Markers” and “Hide & Seek” and vocals on “Crowded Emptiness”) and cover artist Hugh Syme (keyboards on “Crowded Emptiness” and the bonus track “Passing Notes”).
If I take all pieces of the “Fly Paper” puzzle together, I can only conclude that I’m happy that they didn’t produce another album like the last one. This album brings us back to the Tiles of old times. I have the feeling that their next album will be the masterpiece I’ve been expecting for a long time now. We speak each other within a period of 4-5 years ;-)
Publication: Brave Words & Bloody Knucklest
Country Of Origin: USA
Review Date: February 2008
Reviewer: Martain Popoff
Detroit progsters Tiles have delivered an additional batch of Enchant-inflected Rush-fer-the’90s prog metal with finesse and organic texturing on this, their first album in four years and their fifth overall. Fly Paper finds the band tightening their songwriting, with large influence on that front from Rush and Max Webster producer Terry Brown who turns in a gorgeous, creamy sound picture for the band. Melodies are to the fore and there’s a sense of higher impact this time around, with the guys gathering up the likes of Alannah Myles, Kim Mitchell and Alex Lifeson for guest slots. The guys make no apologies for the inevitable Rush comparisons, with Chris Herin capturing Lifeson’s polite electric sound and even layering acoustics like Rush is wont to do in the ‘90s right up to the present. Nice range to the thing as well, as fave ‘Crowd[ed] Emptiness’ leans toward well-wishing, soul-replenished Yes, and ‘Back And Forth’, when it hurdles the wall, has a playful reggae-tipped vibe to it. ‘Sacred & Mundane’ finds the band throwing their shoulder out, and ‘Landscrape’ features a carnal and marauding riff, but really, much of the rest of the album gathers around complicated electric pop metal, Tiles staking a terrain like no other save for perhaps Spock’s Beard, even their heavy stuff sonically arranged on light footing. Vocally, I dunno, I always figure a vocalist is at a disadvantage when he’s way too comfortably in his range, and Paul Rarick really doesn’t sound like he has to push much air – call the result an acquired taste, although ‘Landscrape’ is kind of a cool direction for him.
Publication: Dutch Progressive Rock Pages
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Martien Koolen & Dave Sisson
Martien Koolen:
The Detroit based foursome Tiles have always been a much underrated band although they have already released two masterpieces of rock, namely Fence The Clear (1997) and Presents Of Minds (1999). The music of Tiles can be described as a mixture of Queensryche, Jethro Tull, Iron Maiden, Primus, but foremost Rush. As a matter of fact I can say that if you like Rush – like yours truly – then you will like Tiles and especially this album as well. This is also due to the fact that Fly Paper is produced by former Rush sound engineer Terry Brown and this album really brings back memories of Rush’s Permanent Waves, which Brown produced and mixed back in 1980!!
This fifth studio recording of Tiles features eight new songs and the album really has an accessible song-oriented rock focus with lots of interesting guitar solos and passages. Opening song Hide In My Shadow sets the tone with those typical Rush-like rhythms and melodies and this song almost has a catchy chorus. Sacred & Mundane shows a mandolin intro followed by lots of nerve racking guitar riffs and a howling wah-wah guitar solo. As to the vocals I must say that singer Paul Rarick has a distinct hate-or-love voice, just like Geddy Lee in fact ...
The two true musical highlights are: Back & Forth and Dragons, Dreams & Daring Deeds (nice title by the way). Both tracks are filled with great riffs, tempo changes, sparkling guitar solos and even melodic choruses. There are guest performances by vocalist Alannah Miles (she sang Black Velvet), guitar player Kim Mitchell and Hugh Syme who plays keyboards on two songs.
Fly Paper is definitely much better than the previous Window Dressing (2004), as it is more rock-oriented and much more multi-faceted. This new album is heavier, has more guitar solos and the sound is absolutely powerful! Tiles is back at their high musical level which we already heard on previous albums and therefore I still consider Window Dressing as a musical failure in the band’s history.
Advice: buy and enjoy at a very high volume!
Dave Sisson:
Detriot’s Tiles reach album number five with Fly Paper, and deliver a solid set of hard rock with progressive sensibilities which, whilst hardly likely to set the musical world alight, will surely please their fans and also all devotees of their chief musical inspiration Rush.
I’m sure that longstanding Tiles fans are heartily sick of the Rush comparisons, and indeed, they are not mere slavish imitators, but Tiles do use the same producer (Terry Brown) and cover artist (Hugh Syme), and on this occasion, they even have Alex Lifeson contributing guitar on one track. In the face of this, it would take a stronger man than me to resist the obvious comparison.
Also guesting are Matthew Parmenter, Alannah Myles, Kim Mitchell and Hugh Syme. Syme contributes keyboards to two tracks, but perhaps he should have used his time on the cover design, as it, disappointingly, could have been cribbed straight from the cover for the American edition of PFM’s late 70’s offering Jet Lag – Even if he’s never seen that particular cover, the idea is not up to his usual imaginative invention.
My experience with Tiles is limited to their 2nd and 3rd albums only, but a quick glance around the net seems to show that they received a fair bit of criticism for the last album, in particular for the seventeen minute opening track.
Perhaps with this in mind, Tiles keep things relatively short here, with the longest track only reaching a meagre 8:31. Unfortunately, this paring back has not resulted in the classic album their fans crave to hear, and which I am sure they are capable of delivering. Fly Paper, whilst always entertaining and pleasant to listen to, never really takes off (ahem!).
I’ve whiled away several hours with this album in the hope that its gems would become apparent, but nothing really ever stands out ahead of the pack. Sure, there are great moments (I like the mandolin on the opening numbers), good riffs aplenty, and good melodies throughout, but I can’t point to even one great song. They never seem to break out of the “good song” mould, which at this stage in their career they really should be able to achieve.
Sure, Rush fans will want to hear Sacred & Mundane and Lifeson is all over the track. It would stand up alongside the material on Snakes And Arrows with no trouble, but, again, I’m afraid that, in my humble opinion, Rush too, rarely break into great material these days even if they never drop below the good level.
Not wanting to bash a talented and hardworking band, I’d like to end by emphasising that this is a good album, worthy of a place in any Tiles and Rush fans collections, with no clunkers on board, but it’s not the great album we all want them to deliver.
Publication: Exclaim!
Country Of Origin: Canada
Review Date: February 2008
Reviewer: Chris Ayers
Detroit prog-rockers Tiles wear more than a few Rush influences on their sleeves: their fifth studio effort, Fly Paper, is produced by Terry Brown; the album cover is designed by Hugh Syme (who also plays keyboards on two songs); guest axe men include Kim Mitchell of long=time Rush touring partners Max Webster; and Alex Lifeson himself lends a “Limelight”-like solo to radio single “Sacred & Mundane.” Lead track “Hide in My Shadow” contains all the band’s signature licks (fluid bass, technical drums, etc.), which are compared so often to Rush, but it’s not until “Back & Forth” (with backing vocals by Alannah Myles) that fans get palpable Rush (circa “Vital Signs”) melodies. “Dragons, Dreams & Daring Deeds,” featuring Mitchell’s soloing, approaches Rush’s “Hemispheres” in several places, and the phrasing of “Landscrape” sounds like Rush’s Counterparts. The standout “Markers” brandishes a “Natural Science” trigonometry without sounding dated or obsequious. Vocalist Paul Rarick doesn’t sound like Ged, though; his pipes are less nasal, like Dream Theater’s James LaBrie or Styx’s Dennis DeYoung. Fly Paper is stately prog and the first truly great album of the year. (InsideOut/SPV)
Publication: Prog-Nose
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Danny
I mentioned the style as progmetal, because of the previous achievements of the band but this latest effort from Tiles should rather be catalogued under rock. So, no more concept story, no more long tracks, although there are still two tracks of 8 minutes.
If they want to get rid of the comparisons people make with Rush, they certainly aren’t helping. First of all, Alex Lifeson is playing guitar on one track. The producer is Terry Brown (Rush, Fates Warning) and Hugh Syme (Rush, Nevermore, Megadeth) is playing some keyboards.
“Hide in My Shadow” sets the tone for the rest of the album. Heavy (not metal) riffs in intros, bridges and verses, while most of the choruses are accompanied by acoustic rhythm guitar. The songs contain some excellent rocking guitar solos and they called back their earlier drummer Mark Evans, who plays very straight heavy rock rhythms. Great instrument control by all the musicians. It’s almost a pity, they added the vocals, because Paul Rarick isn’t the best of singers. Although I know he can do better , I don’t like his work on this album. Just listen to “All She Knows” on “Window Dressing” or “Static” and “Modification” on “Presents of Mind” and you know what I mean.
“Sacred and Mundane” opens quietly with a folky Mandolin intro but quickly changes into a heavier track. The heavy riff is played by Alex Lifeson from Rush and so are all the guitars on this track. The presence of Alex certainly brings the Rush sound along. Great song. But even without Alex, on the rest of the album, the Rush sound is always lurking round the corner.
Alannah Miles worked with Terry on the three-part harmonies on “Back and Forth” and it certainly has paid off. A pity she didn’t help out on the rest of the album.
A beautiful duet by Matt Parmenter (Discipline) and Sonya Mastic opens “Markers”, accompanied by the percussion of the same Sonya. This is followed by a guitar solo, that could be signed Gilmour. It’s a pity, it changes to a rock song after a while, because the intro suggested a superb semi-ballad. But I should still mention the great bass playing in this rocky second part.
The most progressive track of the album is “Dragons, Dreams & Daring Deeds”. It contains a lot more variation than the rest of the songs, but is also built on a heavy rock riff.
Conclusion: I’m missing the better vocals, the progressive music and complexity from previous albums and to have a bit more variation, this CD should have contained a ballad or a quiet track. It’s a good rock album, but certainly not the best Tiles album.
Publication: Metal Express Radio
Country Of Origin: USA
Review Date: February 2008
Reviewer: George Fustos
Right from the start of the new Tiles release Fly Paper, it is quite obvious the album has many undertones of the band Rush incorporated into their latest work. As you get deeper into the rest of the tracks, it will become even more apparent. Now, before anyone thinks they are copying Rush, that is not the case at all. In fact, even though they are highly influenced on this release, the Tiles actually have a different kind of feel to their music. One interesting note is that while many different artists that make guest appearances, seven to be exact, Alex Lifeson himself (from Rush-no kidding) does appear on the second track “Sacred And Mundane.” Terry Brown (producer and leading sound engineer) approached Alex about making a guest appearance on the album. After listening to some of the new material, Alex liked what he heard and decided to take him up on his offer. So, before Rush went out on their last Snakes And Arrows tour, Terry went to Alex’s studio and the two of them worked painstakingly to produce the magic one hears on the track. The band was so impressed by the amount of work Alex put into the song, they said it was beyond and above the call of duty. What else can you expect from a musician from Rush … come on now, really!
The band Tiles has been around for some time now, since 1993 to be exact. This is their fifth studio album, not to mention one live recording. The Tiles are a Detroit, Michigan-based band and its members are Chris Herin (guitars), Mark Evans (drums), Paul Rarick (vocals), and Jeff Whittle (bass). This quartet can surely create some special music, which fans of Prog-Rock will enjoy.
The album consists of eight phenomenal compositions, plus a bonus track that will be on the initial pressing. Besides Alex Lifeson doing his magic on “Sacred And Mundane,” there is vocalist Alannah Myles on “Back And Forth,” Hugh Syme playing keyboards on “Crowded Emptiness” and “Passing Notes” (the bonus track), and guitarist Kim Mitchell on “Dragons, Dreams & Daring Deeds.” The band also had a few other friends join in to contribute their talents: Sonya Mastick on percussion, Matthew Parmenter on keyboards, plus a vocal cameo from Nate Mills.
“Hide And Seek” is the longest track on the album at 8:31 minutes and probably the most intense stylistically. Arrangement-wise, it's probably the most difficult to play with all the time variations and changes throughout -- a true Rush type compilation if there ever was one.
Fly Paper is fresh, creative, intriguing, lyrically emotional and powerful, musically impressive and talented, and incredibly suitable for today’s world. This quartet has done something unique here and it's definitely worth picking up and giving it a listen. If you love Prog-Rock or Prog-Hard Rock with some subtle Melodic undertones here and there, or if you are a huge fan of Rush, then this is a must. Put it on your list at once!
Publication: Room Thirteen
Country Of Origin: USA
Review Date: February 2008
Reviewer: Paul Chesworth
If you’ve never heard of Tiles, where have you been living for the last fifteen years. Founded in 1993, Detroit based Tiles is made up of Chris Herin (Guitar), Paul Rarick (Vocals), Jeff Whittle (Bass), and Mark Evans (Drums).
‘Fly Paper’ is Tiles latest and fifth album, and has been a while in coming. Mark Evans, once original drummer, returns to the stool to replace the departed Pat DeLeon. It’s a good thing Mark came back to the fold as comparisons to Spinal Tap would be made.
Anywho, Tiles have been rightly or wrongly tagged with being ‘Rush’ clones. Some may say rightly so, especially when such luminaries as Terry Brown (Rush producer, also Fates Warning), Hugh Syme (Keyboards and past Rush artist aplenty) are involved in the project. Even utilising Brown’s address book to utilise Alex Lifeson on ‘Sacred & Mundane’
But also wrongly so as Tiles make reference to other progressive masters, Pink Floyd, Jethro Tull and even Queensryche, Porcupine Tree and Dream Theater. The songs can be perceived either way, but in my opinion they are a very strong collection of songs worthy of any band, let alone Rush. Dare I say it, even messrs Peart, Lifeson and Lee would be proud to have written some of the songs on offer.
Tiles also carry on the tradition dating back to their 1999 cd ‘Presents of Mind’ brining in other guest musicians. ‘Fly Paper ‘ features an impressive roster of special guests including Alannah Myles on vocals, Kim Mitchell (Max Webster) and Alex Lifeson (Rush) on guitar; Hugh Syme on keyboards; Matthew Parmenter (Discipline) keyboards and vocals (not for the first time, and is almost becoming a fifth member of the band); and Sonya Mastick on percussion.
The cd kicks off with the excellent ‘Hide In My Shadow’ a choppy riffed intro, moving to acoustic, with Paul’s layered vocals suiting the song excellently with a melodic chorus. Lifeson picks up the lead on ‘Sacred and Mundane’ with a definite Canadian influence, acoustic at first, then hard hitting with a distorted wall of sound, featuring the unmistakeable Lifeson guitar sound. Alannah (Black Velvet) Myles helps out with her distinctive sound on ‘Back and Forth’., before one of the highlights for me, as its one of the heaviest songs Tiles have ever performed in the play on words, ‘Landscrape’ complete with moody, heavy riffs, and a good choice for a second single. The second half is as equally as impressive as the first, ‘Markers’ defines the band, showing their diversity. ‘Dragons, Dreams, and Daring Deeds’ is expansive and ‘Hemishperes’-like in its sound. Final track ‘Hide & Seek’ is the albums longest track, and contains a hidden bonus track which isn’t on this promo. The song is a delight and changes pace at the 3:27 minute mark, lighter, technical, with great guitar interplay with Paul’s vocals.
Weakness is not a work in Herin’s dictionary. All songs are powerful and should be on any rock fans wish list. Hell, I got the promo for nothing, and I’m still going to buy it.
Tiles have given us an album, which is proggy, both melodic and heavy in places, subtle and gentle in others, polished all round and even managing to be ‘stripped down’ in the process taking me to the late 70’s and beyond and similar to ‘Permanent Waves’ in its approach. 2007 was a great year for progressive rock, and Tiles ensures 2008 gets us off to the same great start.
Tiles have enough style and panache to stand on their own two feet. As a label ‘Inside Out’ have a roster of bands to be damn proud of, and I cannot think if a previous release over the past couple of years I did not like, and with ‘Fly Paper’, this excellent tradition continues. All hail ‘Inside Out’, all hail ‘Tiles’. Please carry the prog rock fight to the world, and let’s look forward to the next Tiles album, maybe even a tour, guys?
Publication: Lords Of Metal
Country Of Origin: The Netherlands
Review Date: February 2008
Reviewer: Winston
And so it took no less than four years before a new Tiles album saw the light of day. Quite a long time, especially when you're a fan of course. But at least you know that they are fumbling on a new one and a new one never disappoints. Many prog metal bands are being compared to Dream Theater but with Tiles there's just one name that keeps rearing its' referential head and that is Rush. The later styled Rush that is. The band doesn't seem to mind that at all, in contrary because they booked Terry Date, a former Rush producer and furthermore Rush guitarist Alex Lifeson himself drops by in the song 'Sacred And Mundane'!
Even the album artwork is reminiscent but to say that Tiles is copy is way too far fetched. Bands like Jethro Tull, Iron Maiden and Queensrÿche are also mentioned as influential and they are well chosen I think. They chose for a more compact concept this time. Less focus on epics, shorter and more direct songs, translating the feeling of the band today I guess. Singer Paul Rarick doesn't have a unique voice to make Tiles unmistakeably recognizable. The trained listeners won't have any trouble recognizing this as a Tiles album. By the way; do-you-remember-her Alannah Myles sings in on 'Back And Forth', an unexpected surprise. The whole album is varied and with that very enjoyable. Not quite a super flashy album but in some way that wouldn't fit anyway with Tiles. Fan of the later Rush? Add 'Fly Paper' to your collection is my advise.
Publication: Glory Daze
Country Of Origin: USA
Review Date: February 2008
Reviewer: gdazegod
Background:
Back in 2004 we threw the virtual pen at Tiles' fourth studio recording 'Window Dressing'. We noted all the Rush comparisons. Clever album titles combined with Hugh Syme like cover art. Terry Brown's involvement with the band (continuing here too I might add - with production duties), plus of course, all the Rush like musical comparisons - which for the most part might be considered a little unfair, but hey, when you live at the fountain of Xanadu it's inevitable that something similar will come out in the drink.. Progressive rock and the Motor City 'Detroit' to my way of thinking don't quite combine that well. Is it the oil and water thing? I don't know, but I always thought Prog was best heard coming out of British Cathedrals or small quaint villages in Norfolk or something. Whatever the case, Messrs Rarick, Herin, Whittle and now Evans (a previous member of Tiles I've been told), are doing their best to add another musical genre to come out of that fair city - other than MC5, Stevie Wonder plus all those other Motown cats and Bob Seger. Good luck to them. Firstly, gotta love the cover art. Very clever and witty. I wonder if Boeing will sit up and take notice? Secondly, eight tracks of tight unrelenting hard rock with a prog flavor - not the other way around. Big kudos for getting a name 'cast' of guests turning up to play. Good one Terry! Some Canadian heroes popped into the studio for some hang time, notably Alex Lifeson (Rush), Kim Mitchell and Alannah Myles.
The Songs:
One gets the impression that Tiles are willing to experiment a bit more than perhaps they did in the past. I don't think they have to prove anything to anyone but themselves, and it's in the quality of the new songs that judgment will be passed. The band are fusing elements which made Rush, The Police and to a lesser degree Kings X so popular. Take the first two tracks for instance: 'Hide In My Shadow' and 'Sacred And Mundane'.. you can certainly hear Rush influences in there, but it isn't a Rush song per se. 'Sacred And Mundane' by virtue of Lifeson's appearance would automatically be guilty by association but on deeper inspection, again this is not the case.. the song much more complex and percussive than most. 'Back And Forth' has a jangly appeal while 'Landscrape' is a virtual pot-pourri of sound with a combination of angst, moodiness, confusion and brashness all combined in one. By contrast, 'Markers' is as soothing as a pot of Chamomile tea for the first part, though we do eventually gravitate to the Gin by songs end! Probably one of the album's most challenging tracks is 'Dragons, Dreams And Daring Deeds'. This song never seems to settle, it is always on the edge, the relentless back-beat of drums keep things ticking over. 'Crowded Emptiness' is the most commercial offering on the album, fusing acoustic parts to subtle layers of keyboards. 'Hide And Seek' finishes up the album. At eight and a half minutes, Tiles demonstrate their chops for all to see circa 2008. Remember back in 2004, they put a 17 minute epic as their opening track. Thankfully they've resisted such temptations this time around, and kept it to half the time, though no less interesting.
In Summary:
At a whiff under 50 minutes, the whole album is easily digestible. With eight tracks only, there is no over-extension as one might expect from bands in this genre. To their credit, Tiles have kept this affair predominantly a guitar-based one, with no real over-use of keyboards. It's not stripped back to bare bones, but keys are used to supplement the sound rather than dominate. A pretty talented lot who have now been around since 1993.. fifteen years in the game and only five albums? What gives? This is looking remarkably like a case of Boston and Def Leppard like regularity of output.. haha.. just kidding!
Publication: Progressive World
Country Of Origin: USA
Review Date: February 2008
Reviewer: Stephanie Sollow
Let's get this out of the way at the outset. Tiles sound like Rush. Classic Rush to be sure, as there's a certain 80s-era Rush feel to the whole affair. Even still, it doesn't feel as if they're stuck in some long gone era, but rather as if they've kept pace with Rush. That is, as modern as Rush have made their sound, so have Tiles on their sixth album (not including reissues), Fly Paper. Yes, they have Terry Brown sitting in the producer's chair and that has a lot to do with it. On the other hand, Brown also produced Cutting Crew, who, to my recollection, did not sound like Rush. So, I'd venture to say it's only one part Brown, four parts Tiles.
The presence of bass (Jeff Whittle) is quite integral to the whole sound of the band, as with Rush, more so perhaps than most bands. On the other hand, Chris Herin's guitar style owes a lot to Alex Lifeson, who guests on this album, on "Sacred & Mundane," a scorching rocker that puts fiery guitar right at the forefront. To employ another cliché, this asserts itself right in your face, takes no prisoners, and tells you that Tiles is a force to be reckoned with. It's a highlight track on an album that is filled with more highlights than not.
So, let me also get this out right at the outset, this is the freshest and liveliest that Tiles have sounded since Presents Of Mind. Sure, there was only one studio album in between, Window Dressing, but that was, to me, a lackluster attempt. Maybe it had to do with some internal politics going on within the band, I don't know; that they all felt obligated to "get it out" to meet some sort of commitment. Truly, I don't know; this is all just my speculation. But something I sensed when I saw them live in 2005 made me feel that way. And drummer Pat DeLeon, who appeared on the band's last two albums - PoM and WD, left the band in mid-to-late 2005. Behind the kit now is Mark Evans, the band's original drummer who had been with Tiles for their first two albums, the self-titled debut and Fencing The Clear.
Well, lively might be an overstatement when it comes to Paul Rarick, the vocalist. His delivery is often understated, drowsy, though sometimes soaring, too, and falls somewhere in between Geddy Lee and James LaBrie… but not exactly like either.
There are some really fabulous moments on Fly Paper, such as "Markers" which goes from delicate, reflective ballad -- lots of great percussion details to go along with acoustic guitar and lacy electric lines -- to grinding mid-tempo rocker. What comes through here, on this track and the whole album, that didn't on their last outing was a full band dynamic. Maybe I was put off enough I didn't get to deep into the mix, I don't know; but here, the interplay between guitar, drums and bass is so rich. Of course, I did feel on WD that the instrumentation was the highlight; it remains true here. Again, not that I don't like Rarick; I do and more so here than on WD (and as much as on PoM).
The instrumental opening to "Dragons, Dreams and Daring Deeds" also best exemplifies why, like Rush, Tiles isn't just a hard rock band, but a progressive hard rock band, with complex and interesting arrangements. Although not the longest track, it is the one that has the most "sprawling epic" feel. And perhaps the point where they sound the most like late 70s/80s period Rush.
There are a couple of pieces that hark back to an earlier time, and not of … that certain Canadian trio. That is, there's a Beatles/60s-esque rock style, only heavier, in "Back & Forth." Listen to the vocal harmonies of the chorus and background "ahs," acoustic guitar textures, and groovy rhythm; all these make this a standout track on this album. In fact, it is enlivened by a brighter vocal performance from Rarick. Although it comes as track 3 here, this will likely be a set closer; it just as that warm fuzzy feel without being of the cute warm fuzzies variety. I mean, it rocks, and rocks hard, but those harmonies just give it that companionable feel that comes at the end of set where band and audience have bonded. No, not a cigarette lighter moment, but certainly a sing-a-long moment. A great moment too is the rave up at the end, launched by a cool drum tattoo - a foot tapping, air-drumming, air-guitaring moment.
The other "flashback" is "Crowded Emptiness" which has an open and breezy feel, perhaps because of the lighter feel of acoustic guitars, the lighter percussive touch. This brings about a 70s feel, though I can't exactly pin down a specific reference… I'll just throw out some thoughts - Yes, Kansas, Supertramp, Eagles. All those wrapped into one and something more and that's what is remaining elusive at the moment.
"Landscrape" is an abrasive, muscular, growly and snarly track full of the grinding guitars that have become modus operandi here. And by abrasive, I mean it's rough like sandpaper; like sliding down a rocky outcropping. Oh, but Rarick gets to soaring here so prettily, that it's like a momentary salve on some very raw wounds. By the way, I like this track, so all this positive commentary. You may feel that you've been ripped to shreds when the song ends, but you're grinning.
Closer "Hide & Seek" has a single potential - if this type of music has "single potential" anymore. It's groovy and catchy, while at the same time a ballsy rocker - throaty bass, driving guitar, punchy drums, and nice vocal (and very LaBrie like). It's a beefy ballad, actually, yet not soft and wimpy -- even when we get a pastoral interlude - a swell of keys, acoustic guitar, and whispered vocals. Nope, just listen to the crying guitar solo from Herin that follows backing by a strutting bass line from Whittle. Or the bluesy guitar solo that follows a few moments later; sharp, crisp notes, white hot, that just defy any clever metaphor. Herin's not just playin' it, he's feelin' it, and making you feel it, too. Very cool and an excuse to hit "play" again.
Thematically, the album is "[c]entered along themes of 'human vulnerability'. The lyrics explore how people must continually ward off threats to their well-being (even from within) - and the emotional range experienced co-existing with friends, family and the world at large," according to the press release. Because the promo version does not include lyrics, I can't share my thoughts on their sentiments or point of view -- though I've added the "release version" to my purchase list so you may yet see an addendum to this review. I'll say this however, the lyrics may be about vulnerabilities, but the album itself is rock solid and solid rock.
Flaws? Well, to my ears, the throaty beginning to opening track "Hide In My Shadow" lasts just a cycle or two too long… and I do want to comment here, though it's not a flaw, that the very first notes on "Hide…" make me think of opening riff to John Mellencamp's "Authority Song," before the grinding, throaty guitar phrases kick in. Things do throttle back for Rarick's taunting vocal delivery… though the chorus is pretty gloomy (one line goes "brick by brick I build my tomb"). Another flaw is that perhaps the throaty, grinding feel is a bit overused, not that tracks sound at all alike… but, some might find that it's an overused…feel or effect.
When all is said and done, this is an excellent back-to-form release for this band. The "flaws" are so minor and perhaps so particular to just me (maybe?), that what will be remembered is that this is strong, appealing release that will be a strong contender for, if not the best-of for 2008, certainly as one of the highlights for the year.
Publication: All Metal Resource
Country Of Origin: Unknown
Review Date: March 2008
Reviewer: Unknown
Tiles, a Detroit based prog group, takes the route less traveled amongst American prog metal. It seems these days bands either attempt to take the route closer to the likes of power metal, or they go in a more assertive direction ala Between the Buried and Me. In fact, one could say that calling Tiles’ latest effort Fly Paper more rock than metal, would potentially have a good argument. However, in my not so humble opinion, Tiles has produced a great record with some strong metal moments; that alone makes covering this album worth it.
If pressed, I would pinpoint the Tiles sound as a cross between Alice in Chains (specifically with vocalist Paul Rarick sounding a tad like Layne Staley), The Cult, and Dream Theater. Odd combination right? Well, isn’t that what prog rock/metal is supposed to be about? I’m sure there are even more sounds that can be derived, but chew on that combo for a bit, and if you like that possibility, keep reading.
Fly Paper represents a laid back approach to prog. Far too often, prog metal takes the approach of needing technique and speed in order to push the boundaries of their version of what “progressive” means, when in actuality, progression is pushing the boundaries of traditional songwriting to new levels. Bands like Yes, RUSH, and even Iron Maiden and Judas Priest have made their mark by pushing progressive approaches to their art. In that respect, Tiles really hasn’t created an “against the grain” album, but what they have constructed works. Fans of Spock’s Beard will immediately recognize the laissez faire approach of Tiles, sometimes bordering on smooth jazz during a few moments (”Markers” is a good example of this, and is one of the best songs on the album). Again, some will say this isn’t metal, but that is a subjective term. Tiles, while not mimicking even Dream Theater in heaviness, know how to maintain a sense of attitude and atmosphere throughout their music, which is just as metal as the dingiest death metal.
Overall, fans of true prog will dig what Tiles has put out. Having been around since 1993, this band is not exactly new to the scene, but their sound isn’t what will be knocking down doors in the mainstream metal community either. I enjoyed this album quite a bit, but because of its moody flavor, Fly Paper wouldn’t be suggested for head banging and busting heads in a moshpit. However, if you crave that atmospheric album that really hits the spot for that long car ride, or that rainy day, then do yourself a favor and give Fly Paper a try.
VERY GOOD
Publication: Earshot
Country Of Origin: Germany
Review Date: March 2008
Reviewer: Mike
Progressiven Hard Rock bekommt man von TILES aus Detroit auf ihrem aktuellen Album „Fly Paper“ geboten. Bei der Scheibe handelt es sich bereits um die fünfte Studioveröffentlichung der 1993 gegründeten Band. Leider kenne ich die Vorgängeralben nicht, dem Infozettel ist jedoch zu entnehmen, dass die Band auf dem Album verglichen mit dem Vorgängerwerk „Window Dressing“ ihre epischen Tendenzen bewusst in Grenzen hielt und die Scheibe sehr songorientiert klingt, was ich beim Hören nur bestätigen kann. Auf allzu komplizierte Songstrukturen wird verzichtet und mehr Wert auf Eingängigkeit gelegt. Zwar tendiert man nicht so stark in die AOR-Schiene wie die Labelkollegen SAGA teilweise auf deren letzen Album, trotzdem klingt das Ganze zeitweise schon fast nach klassischem Melodic Rock. Einzelne Highlights herauszugreifen fällt mir bei den meisten Alben aus dem Progressive-Bereich schwer, „Fly Paper“ bildet da keine Ausnahme, da die Songs am Stück gehört ihre Wirkung am besten entfalten. Es sei auch noch erwähnt, dass eine ganze Armada von Gastmusikern auf „Fly Paper“ mitwirkten, wobei Alex Lifeson (RUSH) sicher der bekannteste darunter ist.
TILES ist mit „Fly Paper“ ein überzeugendes Progressive Rock-Album mit starker Melodic Rock-Schlagseite gelungen, welches Anhängern von SAGA, RUSH, PORCUPINE TREE und auch DREAM THEATER sicherlich zusagen wird.
Publication: The Pit
Country Of Origin: Germany
Review Date: March 2008
Reviewer: Sascha Hennenberger
Wer an Prog Rock bzw. Prog Metal denkt, dem kommt dabei unweigerlich Rush, Dream Theater, Genesis, Porcupine Tree oder meinetwegen auch an Pain of Salvation, Death und Atheist in den Kopf. Dabei bedient man sich auch gerne dieser Namen, wenn es um Vergleiche geht. Bands aus diesem Muster haben es dabei meist sehr schwer, da manchen dabei die Orientierung fehlt.
Tiles aus den Vereinigten Staaten, die sich bereits 1993 gegründet und mittlerweile mit „Fly Paper“ ihr fünftes Album veröffentlichen, ist hierbei so eine Band, allerdings hat das Quartett dabei seinen eigenen Sound gefunden, der sich nach Eigenangaben aus Rush, Queensryche, Saga und Iron Maiden zusammenstellt.
Im Vergleich zum relativ düsteren Vorgängeralbum „Window Dressing“ (2004) erscheint „Fly Paper“ um einiges positiver. Zwar ist stellenweise noch eine leicht melancholische, bedrückende Stimmung zu vernehmen, aber Songs wie „Back and Forth“ (hier konnte man die bekannte Sängerin Alannah Miles einen Gastbeitrag abzugeben) oder „Crowded Emptiness“ (featuring Hugh Syme an den Keyboards) klingen ja fast schon radiotauglich.
Doch gibt es auch Verweise in die Vergangenheit, wenn es bei Stücken wie dem herausragenden „Sacred and Mundane“ (bei dem kein geringerer als Alex Lifeson von Rush ein Stelldichein abliefert), „Landscape“ oder der bedrückend, melancholischen Ballade „Markers“ (die sogar ein wenig an die Genrereiter Dream Theater erinnert) wieder deutlich düsterer klingen.
Allerdings Achtung: Richtig fette, mega verzerrte Gitarren sucht man hier vergeblich. Wer also wie bei Dream Theater und Konsorten auf ´ne breite Gitarrenfront hofft, tut dies vergebens, denn Tiles zählen hierbei deutlich zum Prog Rock, das sollte man nicht vergessen.
Mal davon abgesehen, zeigt man sich auf „Fly Paper“, das übrigens mit einem coolen Cover von Hugh Syme veredelt wurde und leicht provokant bezüglich dem Thema 11.09.2001 sein soll, sehr abwechslungsreich; zeigt sich sowohl eingängig als auch verspielt, fröhlich und melancholisch, direkt und komplex, was aber letztendlich auch die Stärke des Albums ist.
8 Songs des Kalibers „Hide in my Shadow“ wären dabei wirklich zu viel des Guten und zu anstrengend gewesen. Neben den bereits oben erwähnten Gastmusikern ist übrigens auch noch der kanadische Solo-Gitarrist Kim Mitchell bei dem Song „Dragons, Dreams and Daring Deeds“ zu hören. An renomierten Gastmusikern mangelt es auf „Fly Paper“ also keineswegs.
Fazit: Tiles haben hier ein starkes Prog Rock Album abgeliefert, das zwar bei Fans der härteren Variante progressiver Klänge etwas mehr Anlaufzeit benötigt, aber dennoch viel Spaß bereiten kann, da die Songs ebenso gut klingen, um es mal ganz banal auszudrücken. Wer nicht viel Wert auf verzerrte, megafette Gitarren legt, sollte hier auf alle Fälle mal ein Ohr riskieren und „Fly Paper“ eine Chance geben.
Publication: Metal Cry
Country Of Origin: Unknown
Review Date: March 2008
Reviewer: David Rodrigo
Toca hablar de uno de los grupos que han pasado más inadvertidos y han sido más menospreciados de los últimos años: Tiles. Digo esto porque un grupo de la calidad de Tiles, capaz de ofrecer unas canciones tan variadas y entretenidas, llenas de feeling y genialidad compositiva, se merece tener un reconocimiento mucho mayor. Buena prueba de su valía es la gira que hicieron junto a Dream Theater. Creo que esto lo dice casi todo.
Tras el fantástico trabajo que fue “Window Dressing”, Tiles presentan en este comienzo de año su nuevo trabajo, “Fly Paper” y lo hace desde la más pura madurez musical. La estructura de las canciones, su detalles, demuestran un enorme trabajo sobre el papel, que queda bien plasmado en temas de la talla de “Hide In My Shadow” o “Crowded Emptiness”.
“Sacred & Mundane” cuenta con un dinamismo impresionante y la fuerza de “Landscrape” dejan muy claras las posibilidades de una formación que, teniendo en cuenta su trabajo anterior, tiene poco que demostrar. Sus discos hablan de músicos virtuosos, compositores capaces y una gira junto a Dream Theater es señal de un buen directo.
Cuando llega el turno de “Dragons, Dreams and Daring Deeds” (que por cierto es impresionante) nos hayamos plenamente convencidos de estar escuchando a un grupo de categoría. Aunque no es excesivamente difícil distinguir algunas influencias en su sonido, como Rush o los propios Dream Theater, Tiles hace gala de un sonido en general bastante reconocible.
El disco lo cierra “Hide & Seek” bastante oscura y potente, más fácil de asimilar que la mayoría de sus antecesoras, a pesar de sus ocho minutos y medio de duración. Un tema muy bien estructurado y con una composición muy coherente y efectiva.
Si hay algo que se le pueda criticar al disco es sin duda la producción, que está lejos de ser mala, pero aún así no hace justicia al trabajo realizado en los temas.
Definitivamente, todo aquel que disfrute del rock y el metal progresivo no puede dejar pasar la oportunidad de escuchar “Fly Paper” ni de profundizar en la carrera de un grupo que espero pueda dar muy buenos momentos en un futuro próximo.
Publication: RushMessageBoard.com
Country Of Origin: USA
Review Date: May 2008
Reviewer: Andy Hatzos
It's no secret that Window Dressing was not universally well-received by the press. Much of the criticism was directed at the fact that the songwriting stretched out a bit – drawing from a large source pool of styles, and featuring a few long, complex tracks. While I understand some of the criticisms, I have never totally agreed with them. Window Dressing was a "grower" album that took me a while to get into, and I wonder if too many people gave up on it too easily. Once I was in, it was smooth sailing through a diverse album that featured some of Herin's best songwriting – especially on some of the longer numbers.
Drummer Pat DeLeon left after Window Dressing, and after a bit of a search, Tiles brought back Mark Evans to fill the slot. Evans played on Tiles' first three albums, so it was a homecoming of sorts. This provided a perfect transition for the band. While DeLeon's energy behind the kit will be missed, Evans' style is highly skilled, powerful, and also quite controlled. This fit was perfect for a band that was consciously looking to return to a more simplified sound – yes, one that is reminiscent of the albums released during Evans' first tenure with the band.
Despite the change in stylistic approach from Window Dressing to Fly Paper, one thing that has continued to develop – to a high degree of definition at this point – is the "Tiles" sound. This is meant as a high compliment. More than any of the influences present in their music, the sound is distinctly their own. Traces of this can be heard as far back as the self-titled debut, but Fly Paper has solidified it. The building blocks come from Herin's approach to the guitar – paying lots of attention to specific chord voicings, and tonal quality. Whittle's bass work adds much to the mix – he remains busy, which adds a lot of kinetic energy. He also uses a five-string, giving a bit of extra reach on the low end that adds distinction to the production and fills the sound out well.
Fly Paper features an array of guests; I won't name them all here, as I usually like to focus on the work of the band members themselves. Credit is due to Matthew Parmenter (Discipline), a long-time Tiles collaborator, who adds keys and vocals in a few spots. Of course, the Rush fan will undoubtedly be drawn to the list of credits in the CD booklet. Yes, Terry Brown produced the record. Yes, Hugh Syme designed the art (and plays keys in a couple of places). Finally, yes, Alex Lifeson himself threw down a bunch of guitars on the album's second cut, "Sacred and Mundane."
"Sacred and Mundane" is a standout track on the album; powerful, punchy, and catchy. Lifeson's work is dynamite, but the song is pure Tiles from start to finish – simply with another fresh set of ideas layered in to add to the arrangement.
Two other tracks that stand out are "Markers" and "Hide and Seek." "Markers" is a three-part suite that moves through a series of different feelings. Starting off slow and thoughtful, the song's middle section is as intense as just about anything else on the album. The closing section features some great interplay between Whittle, Herin, and Evans, as they move through a series of building chord changes. On one of the final runs through the pattern, a fast snare roll matches up with the start of a soaring guitar lead – no doubt reminiscent of the end of "Death of Mother Nature Suite" by Kansas.
"Hide and Seek" closes the album proper, with a main riff that indeed is a bit reminiscent of "The Spirit of Radio". The chorus features some great layering of guitar, vocal, and bass work – the harmonies and chord changes are spectacular. As the song progresses toward its middle and ending sections, the overall mood and tempo changes in the composition remind me a lot of a shortened-up "Checkerboards." ("Checkerboards," found on the second album Fence the Clear, is far and away my favorite Tiles song – so that's a good thing.)
Elsewhere, "Back and Forth" features some fun guitar work during the verses – one of the best riffs on the album. "Hide In My Shadow" opens the album with some punchy guitar licks, which are built upon as the track goes on. The guitar tone throughout the song is a little muddy in places, but the delivery is powerful and striking. The bonus track, "Passing Notes," is a touching piano ballad written by Whittle in memory of his mother. The poppy "Crowded Emptiness," with a sonic arrangement that strikes my ear as a bit awkward at times, may be the one average track on the album – but it's not bad. The production across the album is rich and full – with guitars in the forefront from cover to cover.
Lyrically, the album tackles themes relating to frailties, vulnerabilities, and dependencies that affect everybody. The artwork and album title were designed to fit in with the concept – a fragile paper airplane soaring over a bustling city. (Note that this is also the fourth consecutive album title to feature some sort of word play). Paul Rarick puts in a great performance, bringing the lyrics to life. His vocal style is atypical from that of a standard rock band's vocals, but it fits well with an ambitious band that straddles the lines between progressive rock, hard rock, metal, and pop. Rarick has had his critics, but the irony of the fact that there have been complaints about his vocal style on a Rush message board is not lost on me – lest I remind the fans that 90% of the music press dislikes Geddy Lee for the same illegitimate reasons.
Fly Paper is a great album by a skilled band – a band who has honed their craft into something distinctive and unique. Above all else, this is an album full of clever, creative, progressive hard rock.
Publication: MetalUnderground.com
Country Of Origin: USA
Review Date: April 2008
Reviewer: PorcupineTreeFan
In the world of modern prog-rock, bands like Dream Theater, Porcupine Tree, etc. have caught the attention of many old and new fans. Tiles is not nearly as well-known as the previously mentioned bands, but they have the prog-rock style down as well as the rest of them. Their prog style is unique because their music contains elements of both Black Sabbath and Led Zeppelin, yet they still manage to create their own sound. Tiles is not too hard on the ears, and would surely please both the older generation of prog heads as well as the new generation. The only thing I have a slight issue with is that the production/sound of the album is a little weak.
The first track, "Hide In My Shadow," does not waste any time getting the listener engaged in their sound. It proves to be a memorable track in its own right, but not as amazing is the track to follow, "Sacred and Mundane." The rest of the tracks flow nicely offering enough unique tracks to keep the listener engaged from start to finish, which should be the goal of any band. Another memorable song is "Landscrape." This track is a head-banging song, and even though it's nearly the shortest track, its riffs are a good time. "Markers" may be the most progressive of the song on "Fly Paper." "Hide and Seek" is an awesome closer, which ends heavy on the guitars, leaving the listener satisfied when it is all said in done.
Tiles is a unique prog-rock band with a heavy influence of old school hard rock. They have their fair share of guitar solos and riffs with plenty of melodic tones throughout the album. The production may seem a little weak, but it does give an old school sound to the album. If you enjoy old Sabbath, Rush, Zeppelin, or some of the more modern prog bands like Porcupine Tree, then you should give this band a try. Even if you don't like prog, per se, and you’re more of a straight-up hard rock listener, Tiles could still catch your attention with this release.
Publication: Metal.de
Country Of Origin: Germany
Review Date: February 2008
Reviewer: Dieser Artikel
Besser kann man ein Cover-Artwork nicht gestalten! Sticht einem zunächst vor allem die Doppeldeutigkeit des Wortes "Fly Paper" ins Auge, werden bei genauerer Betrachtung die politischen Dimensionen des Motivs deutlich. Ein Papierflieger über New York - völlig harmlos und unbedeutend, aber seit dem 11. September 2001 dennoch der Inbegriff einer verborgenen Bedrohung. Vielleicht stellt auch der Inhalt der Zeitung, aus der das fliegende Objekt gefaltet wurde, den entsprechenden Sprengstoff dar.
Einige der tiefgründigeren Interpretationsmöglichkeiten eröffnen sich dem Betrachter erst auf den zweiten oder dritten Blick. Das Gefühl menschlicher Verwundbarkeit transportiert das in düsteren Farben gehaltene Bild jedoch vom ersten Moment an. Hier wird nicht mit Plakativität gearbeitet, sondern mit scheinbarer Schlichtheit, eindringlich statt aufdringlich. Das ist auf seine Weise ganz große Kunst!
Doch eigentlich sollte der Schwerpunkt dieser Rezension auf der anderen, der musikalischen Kunstfertigkeit der Band liegen. Und auch die kann sich durchaus sehen lassen. TILES geben eine exzellente Mischung aus progressiver Rockmusik und vereinzelten Metal-Einsprengseln zum Besten, meist ausgesprochen melodisch und immer songorientiert. Wildes Instrumentalgefrickel sucht man hier vergeblich, die gitarrenorientierten Kompositionen sind straff gehalten und ufern selbst in den beiden Achtminütern "Dragons, Dreams & Daring Deeds" und "Hide & Seek" nicht aus. In Szene gesetzt wird das Ganze von Produzent Terry Brown, der unter anderem bereits mit RUSH gearbeitet hat und für einen gleichermaßen klaren wie natürlichen Sound sorgt. Stellenweise würde man sich etwas mehr Druck wünschen, ansonsten gibt es jedoch an der Aufnahmequalität nichts auszusetzen. Vermutlich dürfte Terry Brown auch den Kontakt zu Alex Lifeson hergestellt haben. Der RUSH-Gitarrist veredelt "Sacred And Mundane" mit seinem charakteristischen Gitarrenspiel.
Mit namhaften Gastmusikern hausieren zu gehen, haben TILES dabei eigentlich nicht nötig. Die Mannen um Gitarrist und Hauptsongschreiber Chris Herin verstehen ihr Handwerk und bringen ihre Songs hervorragend auf den Punkt. Catchy Hooklines dominieren das Geschehen, was im Falle von "Crowded Emptiness" sogar bis hin zu radiotauglichem Pop-Appeal reicht, ohne dadurch in allzu seichte Gewässer abzudriften. Das Niveau bleibt stets gewahrt.
Vielleicht mag der ein oder andere Song nicht hundertprozentig zünden. Vielleicht hätte die Band auch den Härtegrad durchaus noch ein wenig steigern können. Wer jedoch klassischem Prog-Rock voller Melodien, Herz und Verstand etwas abgewinnen kann, der sollte dieses Album einmal anchecken. Denn hier wurde mit viel Liebe zum Detail vorgegangen und - im Gegensatz zu vielen Genre-Kollegen - von überladenen Liedungetümen deutlich Abstand genommen. Ein starkes Album - und für das eingangs erwähnte Cover-Artwork gibt's noch einen Bonus-Punkt.
Publication: Classic Rock Revisited
Country Of Origin: USA
Review Date: Unknown
Reviewer: A. Lee Graham
With Fly Paper, Tiles has upped its game. Gone is the bloat that mired Window Dressing; in its place are tight songwriting, sharp instrumental passages and melodies marking this the Detroit act's finest hour since Presents Of Mind.
Things get rolling with "Hide In My Shadow," whose recurring riff should impress listeners both metallic and melodic. Paul Rarick's uncanny ability to maneuver his lyrics around dynamic time shifts make these guys stand out, as does Chris Herin's multi-instrumental mastery. From guitar and mandolin to banjo — yes, "Hee Haw" fans, banjo! — Herin proves any instrument can befit any genre. Creativity is the key.
Meanwhile, just try resisting "Back & Forth"'s danceable rhythm and strong backing vocals. "Markers" affords Mark Evans room to use his entire drum kit and explore its subtle shadings. Canadian rock legend Kim Mitchell appears on "Dragons, Dreams & Daring Deeds," with Rush six-stringer Alex Lifeson cutting through "Sacred & Mundane." As if that's not enough, the aural "green room" is further occupied by Alannah Myles ("Back & Forth") as well as Terry Brown and Hugh Syme, the Rush veterans whose producing and cover art skills, respectively, helped Rush fulfill its vision.
But this is Tiles, not Rush, and the Detroit quartet stakes its own claim with Fly Paper.
Publication: Rockline
Country Of Origin: Slovenia
Review Date: Unknown
Reviewer: Rok Podgrajšek
Tiles je ameriška skupina, ki že kar nekaj casa straši po svetu s svojo mlacno glasbo in ljudi spravlja v obup. Kar presenetljivo je, da so se znašli na nemški založbi Inside Out, ki podpira bolj progresiven metal in revitalisticen simfonicen rock. Tiles namrec ne spada v nobeno od teh skupin, kvecjemu bi jih lahko uvrstil med melodicen hard rock.
Kljub vsemu pa se Tiles niso zadovoljili le s tem, da bi ponovno navdušili le tiste, ki so njihove albume kupili že v preteklosti. Na pomoc jim je namrec priskocila kar lepa skupina znanih glasbenikov in mojstrov posla, kot so Alex Lifeson (Rush), Hugh Syme (Rush) ter producent Terry Brown (producent zasedbe (yes you guessed it) Rush). Tako so si ameriški gospodje zagotovili še vecjo izpostavljenost ne le v progresivnem rocku, temvec tudi v bolj trdem rocku. Torej se Americani izpostavljajo na vecih frontah naenkrat, a na koncu se ravno ta neodlocnost izkaže kot razlog za glasbeni neuspeh. Ni namrec neke osredotocenosti, ker naenkrat skušajo biti tako progresivci kot hard rockerji. Medtem, ko Rush to lahko storijo zelo uspešno, pa Tiles v tem pogledu manjka še kar nekaj prakse.
Glasba Tiles je vse prej kot neposlušljiva. Še vec, zelo hitro gre v uho, a kaj ko se napevi in inštrumentalni deli kaj hitro izrabijo in na koncu vidiš, da je bil ves album postavljen na šibkih temeljih. V glavnem pesmi sledijo istim vzorcem – nekaj hard rockerskih delov, nakar hitro sledi še kakšen pocasnejši del na akusticni kitari. Najprej se zdi, da bodo takšne kombinacije vnesle nek zanimiv energijski naboj v album, a se tam nekje na sredi opazi, da vse sledi nekim genericnim vzorcem. Za edino raznolikost poskrbi mellotron, ki se nahaja na Markers ter Hide And Seek. Vidi se, da so si Tiles zadali visoke cilje, ocitno zaenkrat za njih še previsoke. Želeli so biti všecni vsem naenkrat, a se prav lahko zgodi, da ne bodo všec ne hard rockerjem, ne progresivcem. Ves album je sicer odigran na visokem nivoju, glede tega sploh ne morem cesa kritizirati. Edino kar me morda nekoliko moti je vokal, ki je neka mešanica Jamesa La Brieja (Dream Theater) ter pokojnega Laynea Staleya (Alice In Chains).
Tiles s svojo glasbo ne bodo premaknili sveta, prav tako pa ne bodo naredili neke strašne škode. Njihova glasba nima nekega pravega naboja in samosvojosti, da bi jo lahko uvršcali med vrhunsko. V njej preprosto ni tistih elementov, ki bi jih dvignili iz povprecja. Še bolj pa je žalostno to, da se opazi kako se trudijo in skušajo biti novi in sveži. Na njihovo žalost pa izpadejo ti poskusi pateticno, ucinek pa je plasticen in umeten. Ne bom trdil, da na Fly Paper ni nicesar kar bi bilo vredno poslušanja. Še vec kot to, vecinoma so njihove pesmi zelo prijazne do ušes. A kot sem že dejal gre vse po že nekih ustaljenih formulah, ki dvomim da bodo uspele prepricati kakšnega avanturisticnega poslušalca. Kar dostikrat skušajo za raznolikost poskrbeti tako, da hitro preklapljajo med elektricno in akusticno kitaro, a medtem ko so Rush na svojem novem albumu Snakes And Arrows to poceli popolno naravno, so poskusi Tiles bolj prisiljeni. Kot da ne vedo kaj so – hard rockerji, progresivci, ali soft rockerji. Fly Paper je genericen in melodicen izdelek, ki me niti približno ni preprical.
Publication: Progressia.net
Country Of Origin: France
Review Date: Unknown
Reviewer: Dan Tordjman
Qu'il est dur de chroniquer un album de Tiles. Pourquoi ? Parce que lorsque ce groupe nous sert un nouveau disque, on ne peut s'empêcher de penser au somptueux Presents of Mind annonciateur d'un fort potentiel, mais qui fut suivi d'un Window Dressing fade et redondant. Et le groupe de Detroit, présenté alors comme le plus pur des héritiers de Rush retomba quelque peu dans l'anonymat. Par conséquent, les craintes furent légitimes à l'arrivée de Fly Paper.
A la première écoute, « Hide in My Shadows » ne nous rassure guère à l'entame de ce nouvel album. Malgré un riff de guitare à la Alex Lifeson assez intéressant, le soufflé retombe le temps du couplet pour regonfler sur les refrains. « Sacred and Mundane » se fait plus rentre-dedans, avec en prime Alex Lifeson en invité, mais de là à dire que sa seule présence transcende le titre à lui tout seul serait manquer de respect à Chris Herin et au batteur Mark Evans qui planent au dessus de leurs acolytes. Et que dire de ce « Back and Forth » et son refrain sur lequel la belle revenante Alannah Myles - souvenez-vous du tube « Black Velvet » - use de ses cordes vocales avec une simplicité et une beauté rares. Le disque démarre donc réellement au deuxième titre mais le quatrième, « Landscape », aurait très bien faire l’ouverture : extrêmement puissant avec un refrain évoquant Faith No More, Mark Evans s'en donne encore à cœur joie derrière sa batterie et parvient à faire oublier l'extraordinaire Pat De Leon.
On fait une courte pause avec l'exotique introduction de « Markers » avant de reprendre sur un thème plus dynamique. Ne boudons pas notre plaisir : ce disque est rythmé et c'est ce qu'il fallait pour pleinement l'apprécier. La pièce du boucher s'appelle « Dragons, Dreams and Daring Deeds », plus de huit minutes au compteur, dans la droite ligne d'un certain trio canadien. On se laisse transporter sans en perdre une miette : c'est un signe que le titre marche. De même, « Crowded Emptiness », très pop et probablement le plus carré des morceaux , contient mélodies et guitares accrocheuses, tandis que le final « Hide and Seek » constitue un autre lourd pavé, mais tendre sous la dent, à la partie centrale très intéressante.
In fine plus de peur que de mal. Tiles a su tirer profit des erreurs commises sur Window Dressing. Deux ombres majeures restent au tableau cependant : le chant de Paul Rarick manque de variété et demeure quelque peu monotone. Autre ombre, plus noire encore : comment Terry Brown l'homme à qui nous devons 2112 et Hemisphères ou Permanent Waves peut-il produire un album avec un son aussi étouffé, qui ne demanderait pourtant qu'à respirer ? Est-ce bien là l'homme dont on parle ou son homonyme ? Une question qui pourrait rendre difficile l'appréciation de cet album. Oreilles chastes ou trop propres, réfractaires à une production « sale » passez votre chemin. Les autres laissez-vous tenter.
Publication: Metal Temple
Country Of Origin: Unknown
Review Date: June 23, 2008
Reviewer: Dimitris K.
Since I am not an expert on the Progressive Metal scene TILES is something new for me and actually this review was the reason to meet them. So, I learned that this band hails from Detroit, Michigan and has made the debut entry to their back catalogue in 1994 with the homonymous album.
After a couple of CD spins I realized that the term Progressive Metal does not really apply to "Paper Fly". I am not talking about the ’Progressive’ part but for the ’Metal’ one; indeed the band has strong Rock foundations with some distinct RUSH influences to go with. The song structure is kind of complicated with many tempo changes and several melodic patterns but they don’t sound in any way overloaded. Just like the opening track "Hide In My Shadow" where the main guitar melody keeps the listener focused and guides him through the different music patterns that appear and grow during the audition. The album flows smoothly without surprises and this is a downside if you are a die-hard Progressive Metal/Rock fan. Of course I am referring to the fans of the current Progressive Metal scene that I believe has lost track and has become way too complicated for my ears.
Of course, the album needs additional spins in your CD player to grow and mature in your mind. If you follow this process then you will discover some PINK FLOYD elements scattered every where, like in "Markers", some DREAM THEATER touches in the vocals and the definitely RUSH feeling. The band manages to keep the listener’s attention and interest during the eight minutes of "Dragons, Dreams, & Daring Deeds" and "Hide & Seek" that comprises an excellent Blues meets Jazz guitar solo.
I think TILES have created an album that will remind to some of us that Progressive Metal is about making music for the shake of music and not for showing of one’s musical high skills. Personally, I have to give the band some additional credit because they managed to keep me interested despite the fact I have stopped following this scene for the last eight years or so.
Publication: WhatzUp
Country Of Origin: Unknown
Review Date: Unknown
Reviewer: Jason Hoffman
Detroit's own Tiles have been around since 1993, making a name for themselves as the next generation of progressive rock's flag bearers. This considered, it's only fitting that they recruit Terry Brown - who has produced such legendary bands as Fates Warning, Voivod and Rush - to produce their latest album, Fly Paper. His involvement has also furthered their "ode to the grandfathers of prog-rock" sound, giving enhanced depth to their already tuneful songs and intelligent compositions.
Don't let the fact that Rush guitarist Alex Lifeson pretty much co-wrote their single, "Sacred & Mundane," trick you into thinking that this band is a mere Rush rip-off. Indeed, Tiles are talented and mature enough to be able to take these influences and boldly pay homage to them while still making something that is very much their own. First consider the opening track, "Hide My Shadow," which has Rush-influenced vocals and guitar tones. The rhythms and intriguing melodies on this song take it in directions Rush would never dream of. Drummers will especially like "Landscape," a rough and rugged, angular song featuring amazing drum work to hold up an already impressive song that is sure to get your blood pumping. "Dragons, Dreams & Daring Deeds" includes a nice guitar solo by Kim Mitchell, not that Tiles are into name-dropping. Nay, this eight-minute song is full of twists and turns that will keep you glued to your hi-fi, eager to hear the next revealing guitar part regardless of which historic superstar will suddenly appear to add their shine to the mix. Speaking of shine, "Crowded Emptiness" is less dark than the rest of the album, having almost a "feel good summer movie" vibe about it, providing an uplifting finale to an excellent album.
While a bit darker than their previous four albums, Fly Paper is an excellent classic progressive hard rock album worthy of the many prog-rock illuminati that grace several of the songs (not mentioned above but included are Alannah Myles and Max Webster). There's heart in these songs, folks, not just intellectual musical exercises. And there's melody aplenty. And guitars. Lots of heavy guitars, but not so heavy as to scare the kiddies. Oh, and some keyboards, but again, not so many as to make you think very special guest Yanni has broken into the studios. Did I mention that there are tons of astounding guitar solos? If you're one of those fans who can't get enough 80s mainstream progressive hard rock, well, you need to pick up Fly Paper immediately.
Publication: Rock Pages
Country Of Origin: Germany
Review Date: Unknown
Reviewer: Dimitris Kazantzis
The fifth album by Tiles is probably what the fans had been expecting from their favorite band. The maturity of the Americans is obvious while the musical ingenuity is evident in this very well-crafted record. Tile are considered by many to be the successors of Rush. One has to be careful, though, with such characterizations and pay more attention to all the factors that lead to the final result that goes by the name of “Fly Paper”. Terry Brown (Rush, Fates Warning, Dream Theater etc.) handles the production and the sonic outcome is absolutely crystal clear. Special guests include Alex Lifeson (Rush) on the guitar, Kim Mitchell and a familiar face from the past, Alannah Myles who put all of them their stamp on the album.
Notice or even better admire the excellent cover and back cover of “Fly Paper”, a piece of art by Hugh Syme (just put it right beside Queensryche’s “Sign Of The Times”) who contributes his keyboard talent on two songs of “Fly Paper”. And these are not the only guests…
All of the aforementioned elements help to bring about a perfect result, but the lion’s share belong of course to Tiles.
Publication: Maelstrom
Country Of Origin: Unknown
Review Date: Unknown
Reviewer: Avi Shaked
Fly Paper is the latest offering from Detroit prog/hard rock outfit Tiles, active since 1993. A glance at the album’s credits revealed Terry Brown, famed for his work with Rush, in the producer’s chair. If such an association causes you to anticipate a fresh take on Rush’s work, Fly Paper will live up to your demands.
The deadly riff with which the album opens signals that Tiles is indeed Rush derived — a direct and alarming riff, synced with a robust bass line and laying the ground for some of the most melody-driven hard rock in quite a while (that lasts the entire album, that is). Acoustic guitar appears as the first verse starts, without clouding the heavy, electric atmosphere; the song, quite like those that follow, relies on twists of this sort to keep your attention throughout.
Putting aside the under-produced drums, most Rush fans would agree that this energetic, modern album also amalgamates a bit of the band’s electro-acoustic ‘70s sound with the punchy yet confined songwriting of the early ‘80s. In fact, Fly Paper is not totally unlike Rush’s recent material, but it manages to sound more gutsy and truthful due to its immediacy. If that’s not enough, then the fact Rush’s own Alex Lifeson guests on guitar (on "Sacred and Mundane") might help to convince you of Tiles’ high rank.
Still, a warning is required. The high impact songs aren’t as thought provoking as classic Rush material; and despite the well structured compositions and first class hooks, the less demanding vocals (when compared to Geddy Lee’s, which are an acquired taste) and some slightly fawning segments (like the first half of "Hide and Seek," until the aerial keyboards enter) may bring a mainstream rock connotation to mind. (8/10)
Publication: Blast! Magazine
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
"In the Footsteps of Rush"
In the 15th year of its existence, the Detroit group Tiles has just presented its fifth album, Fly Paper. This clearly shows that the band does not release new recordings all that often, which you nonetheless gladly put up with if it results in such first-rate albums as Fly Paper. Musically, Tiles are similar to bands such as Spock’s Beard, the short-lived all-star project Transatlantic, and especially Rush; you could even go so far as to consider Tiles the little brothers of the Canadian prog heroes. Thus, it is surely no coincidence that the producer of Fly Paper, Terry Brown, was also responsible for refining the sound of several Rush albums. Further, the magnificent cover was designed by Hugh Syme who has also worked for Rush before and who even appears on one track of Fly Paper as a guest keyboarder. To top it all off, none other than Alex Lifeson, the famous magician on guitar of - you guessed it - Rush was also involved in the creation of the album. However, in spite of all these parallels, one thing is beyond dispute: the eight songs included in Fly Paper are, without exception, small, wonderful gems which deserve heightened attention. In addition to folks who enjoy sophisticated, intricate arrangements, we would suggest that all those who go for hot melodic hard rock for once dare to have a listen. The following titles are especially noteworthy: "Hide in my Shadow," "Back & Forth" (with the participation of another renowned guest, vocalist Alannah Myles), "Dragons, Dreams & Daring Deeds", and the fabulous final track "Hide & Seek".
Publication: Breakout Magazine
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
It has taken yet another four years for the Americans finally to present the successor album to "Window Dressing." In previous reviews, the group's proximity to Rush, in terms of sound and production, was critically noted from time to time. Similar comparisons will presumably again be made, at least with respect to the opening track, "Hide in my Shadow." Already in the second piece, "Sacred and Mundane," Alex Lifeson of Rush makes an appearance (as do Alannah Myles and Kim Mitchell in other tracks), and the producer of Rush was brought on board again as executive producer. He had been responsible for the sound of Queensryche or Fates Warning's "A Pleasant Shade of Grey" and, also, for the 1991 Album of Voivod, and, moreover, had been at the controls with the Albums "Fence the Clear" and "Presence of Mind." According to the band’s press release, he was to "produce polished and yet organic recordings," as he did with the Rush album "Permanent Waves." However, you would definitely not do justice to Tiles if you were to be just looking for elements reminiscent of Rush or perhaps Fates Warning (or perhaps the earlier Spock's Beard?). To be sure, these elements do shine through every now and then with a sly wink, however, Tiles have become much too independent, their compositions are much too compact and multi-faceted, to make comparisons worthwhile. In contrast to their 2004 album, the group presents itself more oriented toward vocals, at times almost groovy, with greater distance to epic tendencies than in earlier albums. Songs like "Landscape" or the slightly-more-than-eight-minute-long "Dragons, Dreams & Daring Deeds," which oscillates between calm or rock-like grooving phases and prog-like passages, show a band which appears to have reached the next level, even if the track "Crowded Emptiness" does not quite reach that level. The album comes to a close with an ingeniously grooving "Hide and Seek," in which guitar and a fresh bass culminate in one fantastic finale.
Publication: Darmstadt Echo
Country Of Origin: Germany
Review Date: February 8, 2008
Reviewer: Unknown
Transcription: Al Grabenstein
The progressive rock genre proves yet again completely indestructible and resistant in the face of all contemporary trends. Again and again, this sea of science fiction, psychedelic, and technical capabilities gives rise to a band which adds a little something new to the genre. Tiles, led by Chris Herin, have been traveling through the scene since 1993, yet now, with "Fly Paper," they have succeeded in creating a kind of master piece, an opus magnum. Sure in their approach as never before, the quartet stirs up a mix of Pink Floyd, Rush and Queensryche, with excursions into one or the other direction evidently being part of the concept. Thus, in "Sacred and Mundane," they lift off into hovering prog rock spheres, and you can clearly hear that Alex Lifeson of Rush is in the mix. By contrast, in "Landscape," they push a modern metal sound, and in the epic "Markers," they nearly come to a stop before the song tentative-forcefully breaks free. In this sophisticated fashion, Tiles wind their way through an album rich in different musical styles that offers much that is worth discovering.
Publication: Eclipsed
Country Of Origin: Germany
Review Date: February 2008
Reviewer: Unknown
Transcription: Al Grabenstein
Rating: 6 of 10 points
In their fifth album, the men from Detroit around Chris Herin, songwriter-in-chief and lead guitar, limit their penchant for epic long tracks, of which they apparently had their fill in their last album, "Window Dressing," to a maximum length of eight minutes and instead refine their guitar sounds even more. In a total of eight songs, produced by Rush sound engineer Terry Brown, drums and breakneck string riffs chase each other, well packaged in hard rocking, yet quite catchy songs, even if they shine every now and then with unusual rhythm sequences. With their dominance of guitars, Tiles are reminiscent of jam bands such as Umphrey's McGee, while the six-string sounds give rise to thoughts of Led Zeppelin ("Hide in my Shadow," "Dragons, Dreams and Daring Deeds"). Every now and then there is the sound of a mandolin ("Sacred & Mundane"), then some Latin American flair, however, unfortunately, always much too brief. In general, the sound of the album remains all too uniform to be really able to convince completely.
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
For their fifth studio album, the Americans around guitarist Chris Herin again got together with producer Terry Brown. The result was the probably most ambitious work of the progressive rockers from Detroit so far. "Fly Paper" offers contemporary progressive hard rock with profound melodic structures and a basically rather somber mood. Overly lengthy tracks are avoided and, thus, the eight songs range between three and eight minutes in length. In spite of a high degree of progressivity, the material only very rarely comes across as overdone. That Tiles do not model themselves on their competition becomes all the more evident, the more you work your way into the new album. "Landscape" is one of those songs that are immediately catchy and it literally latches on to your mind with its powerful bass play and driving woofer rhythm. Interesting song structures and changes in rhythm complement each other splendidly in "Back & Forth," which represents one of the most accessible songs on the album. None other than Alannah Myles is one of the guest contributors to the album. "Fly Paper" is very solid "progressive food" and again confirms the band’s already significant status.
Publication: Empire
Country Of Origin: Germany
Review Date: Spring 2008
Reviewer: Unknown
Transcription: Al Grabenstein
The group Tiles belongs, without ifs, ands or buts, to the absolute insiders' tip in the house of InsideOut. However, considering the fact that the current CD, "Fly Paper," turned out terrific, this status should change soon. When writing down a review, one is all too easily tempted to open certain drawers in order to be able to categorize the whole matter and be done with it. Well, in the case of "Fly Paper," I would quite often use the Rush-drawer, every now and then the Dream Theater- and perhaps also the US-American-melodic-rock drawer. But precisely this approach would probably be too simple. To be sure, Tiles really do not make it easy for the listener, and thus the boys again offer us their complex mix of prog rock, metal and a few melodic boilerplate tracks. The eight titles satisfy fully with their high musical ambition and warm sound. None other than top producer Terry Brown, who, as is well known, has worked with Rush before, has done an excellent job with the current disk. And since I’m already mentioning well known names, I also ought to refer to the list of guest musicians. There you’ll find, among others, Kim Mitchell, Alannah Myles und Alex Lifeson. "Fly Paper" must be absorbed repeatedly, and the album grows and grows and grows. For me "Fly Paper" is the first thunderclap of the year 2008, and I assert that other releases will find it damn difficult to come close. Very well done!
Publication: Heavy
Country Of Origin: Germany
Review Date: February/March 2008
Reviewer: Martin Kosbab-Zillmann
Transcription: Al Grabenstein
If one band has steadily walked in the footsteps of Rush, it is Tiles who with "Fly Paper" have now released their fifth studio album. The band's front man Chris Herin and his boys have once again released eight songs (nine on the Limited Edition CD) which will put a smile on the face of every fan of the Canadians. This is not to say that Tiles are a copycat band, but rather that the Americans go to great lengths to be honorable stewards of the heritage of Rush. In this task they are helped not just by the guitarist of the Canucks, Alex Lifeson, but also, in Hugh Syme, by the in-house designer of the trio. Since yet another prominent guest, wonder-voice Alannah Myles, also appears on "Fly Paper," there is no shortage of variety, which is why prog fans can rest assured and should grab the CD, in spite of a few somewhat trivial passages.
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 2008
Reviewer: Eric Harabadian
Detroit-area band Tiles has explored many facets of original rock having embellished its basic guitar-centered sound with banjo & mandolin, violin, keyboards, and ethnic percussion. Previous works have demonstrated a willingness to take creative chances and follow their muse. With Fly Paper, that progressive aesthetic remains but has been refined via tighter song arrangements and a more direct lyrical approach. Previous disc Window Dressing veered into uncharted waters with extended jams, the use of brass, and acoustic piano etudes. Here we have a return to Tiles' original early-90's origins, featuring bona fide rockers including "Hide in My Shadow" and "Landscrape." Former Rush producer Terry Brown is back, enlisting help from guitarist Alex Lifeson on the incendiary track "Sacred & Mundane." Other guest stars include vocalist Alannah Myles ("Black Velvet") and former Max Webster guitarist Kim Mitchell. Album designer and keyboardist Hugh Syme, percussionist Sonya Mastick, Discipline multi-instrumentalist Matthew Parmenter, and vocalist Nate Mills round out a distinguished cast of session players that truly makes this one of Tiles' best and most well-rounded works to date.
