Tiles Reviews: Off The Floor
Publication: Sea of Tranquility
Country Of Origin: USA
Review Date: November 24, 2012
Reviewer: Mark Johnson
Every once in a while you find something unique and very interesting in the search for new music. Such is the case with Tiles. After reading their bio and about their search for a lead vocalist, they
re-affirmed that age ole adage that "patience is a virtue."
Mark Evans: drums & percussion and Chris Herin: electric & acoustic guitar, mandolin, keyboards, and backing vocals started recording songs at the Old Schoolhouse in Ann Arbor, Michigan. They had a great set
of 12 tracks, but definitely recognized the need for a strong vocalist to set themselves apart from the vast list of bands worldwide.
They had the fortune of being signed by Gene Simmons, yes, of Kiss and Simmons Records fame, which was quite a great start, to be sure. They had been signed as "Standing Pavement," but Simmons recommending
shortening the name to one word. Therefore, "Tiles" was adopted instead. They later added Jeff Whittle: bass guitar, keyboards, and backing vocals. To make a long story short, it took two years to find Paul
Rarick for lead vocals, but once they heard him, they all knew they had found the key.
As I said before, patience is a virtue, and "Landscrape" will test your patience immediately. One of my least favorite tracks on the album. I know they couldn't put it near the end with the fabulous epics,
which close this album, but I would have left this one off. Don't lose hope. The rest of this album will more than make up for this opener. Sounds like every hard rock opener you may have heard from the
past. Hang in there...it gets much better.
"Token Pledge" begins the rebound immediately. Hard to believe the band that made that first one made the rest of the album, but you will be rewarded. This track brings the Rush – oriented heavy bass and
lead electric with powerful supporting drums you will hear throughout the rest of the album.
"Modification" brings some very cool changes to the sound. The opening sound effects will stun you and reward you for the wait. The ever evolving sound you will hear developing will win you over on this
track or definitely the next.
"Capture the Flag," the first of the big epics will further strengthen my argument that this is one of the best new bands I've laid ears on in a while. This track opens with a Zeppelin – like explosion of
sound that will have you movin' and groovin' to the pace. Then the bass and lead guitar lift the sound even further. Rarick's vocals will bring back memories of some of Geddy Lee's early 80's highlights. The
music on this one is a great mix of LZ II and some of maybe Rush's "2112" or debut album. Heavy but wired perfectly. Those bouncing full drums will rock your ears. You even get some Crème inspired lead
guitar and bass. Well worth the wait.
"Changing the Guard" is an acoustic guitar opener further enthralling you in their sound. The violin adds volumes to the deep sound on this track. At 7:18 minutes, this track though moody, will hold your
attention and bring back memories of some glorious music of the past.
"Segue / Window Dressing (Part IV)" is an excellent bass and percussion opening that will immediately become an album favorite. When the power of the drums and lead guitars take off, hold on to your hat.
This one rocks like an explosion of sound. Heavy bass and slow dragged electric guitar complete the sound, igniting memories.
With a title like "Dragons, Dreams & Daring Deeds," you can almost imagine the heavy guitars and drums that will besiege you. Well, no surprises, they are delivered at a Rush, breakneck pace. The percussion
coming at you will make you swear that Neil Peart is playing. The virtuoso lead electric guitar will bring back even more memories. Sounds like one of the extra songs left off "Moving Pictures." "Dress
Rehearsal" is an excellent lead electric guitar flight with supporting drums and percussion. "Hide in My Shadow" starts as another excellent guitar solo filled with excellent drums, bass and percussion.
Rarick adds solid lead vocals and dark lyrics.
"A Minor Interlude" is a very cool guitar and keyboard instrumental which will prepare you for the epic closers to come. Perfect entry to the close of this album. The bass adds volumes to the sound. At over
15 minutes, "Checkerboards" is the amazing showstopper you bought this album to hear. It opens with a "view from the studio" with the band discussing how they will open the track. Bringing you the listener
into the process. The mandolin opening is perfect. Then they open their version of the story of life. But they let the music do the talking. The fun begins. Lead electric blasting notes, with the bass
closely following along. The drums, percussion, acoustic guitar all wade into the full stream of music being presented. Then, suddenly…an almost Rush/Yes – like quiet mid-section from "2112" or "And You and
I." Slow strummed guitar and Rarick singing. "Disrupting the balance of nature". Yes, you can hear the influences everywhere. The guitars at the end may take you right back to the "Temples of Syrinx."
If the last epic track wasn't enough to lock in your vote, then "The Wading Pool" will seal the decision. The proggiest song they play on the album. I hope this is a glimpse of future albums. They add some
mellotron and flute to make it perfect.
The album includes special guests: Matthew Parmenter: violin & backing vocals on "Changing the Guard" and mellotron on "The Wading Pool". Keith Kaminski plays flute on "The Wading Pool."
After a slow start this band closes well. If you want something new with the spirit and power of music you remember from the past, then this is your ticket.
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 2013
Reviewer: Michael Popke
Detroit progressive-rock survivor Tiles proves it's still in business with this live-in-the-studio recording of the band's best songs. This collection is loaded with hooks, extended solos, improvs and a
rawness missing from the five excellent studio albums Tiles released between 1994 and 2008. In fact, the guys sound as if they've been dying to let loose like this for years.
Along Shadow Gallery, Enchant and Magellan, Tiles was on the roster of both Magna Carta and InsideOut Music during those labels' early days. The band's associations also include Kiss (an early deal with Gene
Simmons' label) and Rush (Terry Brown has mixed most Tiles albums; Hugh Syme does the artwork, and the musical influence is obvious). Discipline's Matthew Parmenter shows off on Off The Floor as well -
singing, playing violin and mellotron.
This disc commemorates almost 20 years with essentially the same lineup, and a track listing that sticks close to what Tiles played on its tour in support of 2008's Fly Paper. For an introduction, stick to
the band's studio albums. Longtime fans, however, will love this.
Publication: Ytsejam.com
Country Of Origin: USA
Review Date: March 3, 2013
Reviewer: Koggie
The prog powerhouse from Detroit is celebrating their twenty years as a distinctive musical force – and what better way to celebrate than to record a live in the studio (CD) that focuses on what the band
does best – rock out with a tight groove and intricate aesthetic, hence the Off the Floor title. Having constructed themselves on a reputation on stage as a powerful live band as well as delivering unique
studio albums (many produced by Terry Brown), Tiles have built a following amongst the progressive rock and hard rock scenes, even caching the ears of Gene Simmons and Mike Portnoy along the way.
With Off the Floor, it’s as if you have a power trio with an additional front man; the connection between the band members have their stirring moments as strong as studio albums, and although it might have
its flaws, as most live releases do, at least this music is honest. This set list delivers a career retrospective in new light with selections from their catalog, ranging from early to recent material – high
points include the straight ahead rockers “Modification” & “Landscrape,” as well as voids being filled with the tech-minded “Hide in my Shadow” & “Token Pledge.” They even poke at balladry on both “Changing
the Guard” & “The Wading Pool,” with the extended “Checkerboards” giving up a serving of multifaceted food for thought.
A great place to start for the curious, as Tiles stand on their own without any major synthetic sap that often reaches into the bloated side of prog, never overreaching to something that would be vainful to
ponder musically upon. Until the next set of studio reels hit the racks, this will tide us over for now.
Publication: Babyblaue-seiten.de
Country Of Origin: Germany
Review Date: January 27, 2013
Reviewer: Thomas Kohlruß
Tiles sind eine Progmetal- / Progressive Hardrock- / Melodic Rock-Band der zweiten Reihe. So macher wird sagen, zu recht und hat damit vermutlich nicht mal unrecht. Zum einen stellt sich die Band selbst
immer wieder in den Schatten der großen Vorbilder Rush, zum anderen scheut die Musik von Tiles große Risiken und es wird etwas zu gefällig agiert.
Nichtsdestotrotz kann die Musik von Tiles Spaß machen und unterhalten. Diese Mischung aus Rush-Riffing, epischen Rocksongs und kürzeren Hardrockern ist zwischendurch sicherlich manchmal genau das richtige um
intelligent Abzurocken. Knackige Gitarren, druckvolles Bassspiel, wuseliges Drumming, die Musiker sind gute Techniker und gerade Chris Herin ist immer für eine Frickeleinlage gut. Es hapert eben, wie gesagt,
ein bisschen an Eigenständigkeit. Sänger Paul Rarick ist sicherlich nicht jedermanns Liebling, macht seine Sache aber ordentlich. Gerade in der Livesituation hat er aber schon den einen oder anderen Wackler.
Irgendwie stört das aber nicht, sondern wirkt eher menschlich und sympathisch. Dem Hörspaß tut es jedenfalls keinen Abbruch.
Da Tiles aber vermutlich trotzdem ein paar Fans haben – ein ziemlich prominenter ist Disciplines Matthew Parmenter, der hier auch wieder mit von der Partie ist -, wollten sie zum 20jährigen Bestehen was
besonderes bieten. Ein Livealbum sollte her, dumm nur, dass Tiles eher selten touren und eher selten Konzerte geben. Also ging man in die Initiative und veranstaltete ein „Live-im-Studio-Konzert“ vor
geladenen Gästen. So entstand also „Off The Floor“.
Immerhin ein Lebenszeichen, man musste sich ja schon sorgen machen, dass sich die Band aufgelöst hat. Tiles spielen eine Art Best of ihres bisherigen Schaffens. Leider sind die Zuschauerreaktionen nicht zu
hören, so dass man „nur“ einem Studioalbum zu lauschen meint. Das ist ein bisschen schade, aber für Fans (und solche, die es werden wollen, he, he) ist sicherlich eine lohnenswerte Anschaffung.
Publication: Babyblaue-seiten.de
Country Of Origin: Germany
Review Date: March 29, 2013
Reviewer: Thorsten Gürntke
Abgehobener Titel für ein Album, abgehobenes Cover (wieso schwirrt da ein Abfluss rum?) und dazu bodenständige Musik. Wie geht das zusammen?
In diesem Falle möchte ich sagen: Geht nicht. Vor all zu langer Zeit hat mich mal "Fence The Clear" von Tiles fasziniert, der Nachfolger konnte mich wenig fesseln und ich verlor die Band aus den Ohren. Da
sich nun die Chance bot, "Off The Floor" zu rezensieren, bekam die Band eine neue Chance. Mit einem Live Album, das nicht live klingt. Mit einem mumpfigen Sound, der nicht mitreißt.
Überhaupt klingt "Off The Floor" wenig dynamisch und voluminös. Das ist dem viel zu dumpfen Mix geschuldet (bei dem tatsächlich die frühere Rush-Produzenten-Ikone Terry Brown sein Finger im Spiel hatte),
wahrscheinlich auch den nicht immer auf den Punkt arrangierten Stücken, die manchmal doch stark "erzwungen schief" klingen wollen und dann holprig und unwuchtig daherkommen. Neben dem basslastigem Mix wirkt
die Gitarre wie direkt aus dem Verstärker abgenommen. Das klingt, als würde man in einer viel zu kleinen Garage sitzen, die Band spielt, der Bassmann hat voll aufgedreht und neben dir steht die
Gitarrenmonitorbox und rattert. Und so ermüdet mich das Klangbild mit zunehmender Hördauer. Dieses "Sägen" mit Wattebauschbässen ist anstrengend. Was mich am meisten enttäuscht ist aber, dass man den - wenn
auch klaren und guten - Gesang von Paul Rarick (ich mag seine Klangfarbe) ebenso "nebenher" hört. Die durchaus ansprechende Gesangsleistung verliert dadurch leider seine Aussagekraft, da sie nicht im Song
platziert ist, sondern irgendwie nebenher läuft (vielleicht war die Garage doch zu eng und man hätte ihn nicht auf dem Flur singen lassen sollen?).
Spezielle Gimmicks, wie z.B. die von Matthew Parmenter gespielte Violine in "Changing The Guard" empfinde ich leider auch ein wenig überflüssig. Das war mal eines meiner Lieblingsstücke vom "Fence The
Clear"-Album. Ich ziehe die Album Version weiterhin vor. Wie mein Vorschreiber schon gesagt hat, gehören Tiles zu der Reihe von Bands, die irgendwie in die zweite Reihe gehören. Leider muss ich das auch
bestätigen. Denn viele Kompositionen wirken gleichförmig, wenig spannend und auf Distanz scheint mir das Album zu lang. Die wirklich guten Kompositionen lassen sich an einer Hand abzählen (Checkerboards,
Dress Rehearsal, The Wading Pool [mit Parmenter am Mellotron, hier mal gut und Keith Kaminski an der Flöte]). Alles andere ist mehr oder weniger beliebiges Füllmaterial, bei dem man gerne gedanklich
abschweift.
Ein wenig wehmütig habe ich nun diese Worte verfasst, denn irgendwie hatte ich mir gewünscht, jene Band wieder zu entdecken, die ich mal als hoffnungsvoll empfunden hatte. Leider ist dem nicht so und es
bleibt der Eindruck eines unvollständigen, komischen Livealbums zurück, das leider erst mit den beiden letzten Kompositionen wirklich zu Hochform aufläuft und Spaß macht. Alles davor bewegt mich wenig bis
gar nicht und ist mir zu beliebig, von der Songauswahl bis hin zu dem unglücklichen Mix. Da hätte man lieber auf neues Material setzen sollen, statt altes derart lauwarm zu servieren. Vielleicht auch deshalb
der Abfluss auf dem Cover.
Publication: The Examiner
Country Of Origin: USA
Review Date: September 1, 2012
Reviewer: Michael Ostrich
Any anniversary is cause for celebration, but for the progressive rock band TILES, the 20th anniversary of the band is something a little bit unique. Considered too progressive to be a metal band and too
metal to be a progressive band, Tiles (which features Chris Herin on guitar, Jeff Whittle on bass, Mark Evans on drums and Paul Rarick on vocals) has opted for the road less traveled. Left to their own
devices, their latest studio release, 2008's "Fly Paper" is the best in the band's repertoire. Where the band truly captivates an audience is on the live stage, and the band has chosen their 20th anniversary
to showcase some of their current live material.
Other than the "Presence In Europe" official bootleg (released in 2000), which saw the band open for Dream Theater in Europe back in November of 1999, their hasn't been much documentation of Tiles' live
performances. Guitarist Herin explains that subsequent performances never really reached the heights of those shows, stating that "...we'd rehearse tirelessly for a festival or other "single" performance and
never feel that same level of confidence on stage...". Based on an idea from Whittle to celebrate the 20th anniversary in some fashion, it was decided that a live document was the way to go. While the band
agrees that live CDs aren't "fashionable", it is a great way to take a step back and really examine all that they have accomplished since their debut release back in 1994.
Recorded live at Sound Escape Studios in suburban Detroit (where the band members reside), "Off The Floor" is everything the band chose to display, and quite a bit more. The song selection (which hits all
five of their studio albums) showcases the very best that the band has to offer. Not having a huge audience to worry about, allowed the band to, according to Herin, "...get comfortable & focus on the music."
Herin continues to state that "...there's still the occasional 'jazz' note, tempos may drift ever-so-slightly, strings don't stay in tune, or keyboard samples slip a tad out of sync. But we didn't fix all
these little imperfections that make live music interesting."
One of the many high points on "Off The Floor" is the track 'Capture The Flag' (featuring drummer Evans), which not only takes on but exceeds the studio version (done by Pat DeLeon, who was the drummer for
the band's 2004 effort, "Window Dressing"). What's most interesting about 'Capture The Flag' is that the ending is totally improvised, something that bassist Whittle has mentioned that he is extremely proud
of. Fan favorites are included here as well, such as 'Checkerboards' (from 1997's "Fence The Clear"), 'Token Pledge' (taken from 1994's debut self-titled release), 'Modification' (from 1999's "Presents Of
Mind") and the opening track, the standout 'Landscrape' (which is on 2008's 'Fly Paper'). Joining the band is special guest Matthew Parmenter (of the band "Discipline") who plays violin and sings backing
vocals on 'Changing The Guard'. A bonus on the album is a complete re-working of 'The Wading Pool', originally found on 1997's "Fence The Clear." Performed initially by Rarick and Herin alone, this new
version features Keith Kaminski on flute and Parmenter on mellotron.
Mixed by Terry Brown (Rush, Cutting Crew), "Off The Floor" sounds as if you were listening (if you close your eyes) to the band live in your living room. "Off The Floor" is one that would not be out of place
blasting out of your car on an cool and crisp autumn day as you zip down the highway. Released on the band's own label, Standing Pavement, "Off The Floor" can only be purchased from very limited retailers
(including their own website and on iTunes). Where it might be a shame that a band this talented is still unknown to many in the progressive and metal circles, Tiles can hold their heads up high. "Off The
Floor" is a great retrospective of the bands' past and present, and its' future is equally as bright.
Publication: Powermetal.de
Country Of Origin: Germany
Review Date: February 11, 2013
Reviewer: Peter Kubaschk
Vorweg: "Off The Floor" ist nicht das neue Studioalbum der US-Prog-Institution TILES. Vielmehr handelt es sich um eine live im Studio eingespielte Werkschau, die auf fünf Alben und zwanzig Jahre TILES
zurückblickt.
Ein bisschen schräg ist die Idee ja schon, statt eines echten Live-Albums eines aufzunehmen, wo man beinahe gänzlich ohne Publikum im Studio die Songs live einspielt. Da fehlt natürlich ein wenig die
Energie, die ein Konzert verströmen sollte.
Auf der anderen Seite beweist "Off The Floor", dass die Band prima eingespielt ist und zudem über einige tolle Nummern im Katalog verfügt. Songs wie 'Capture The Flag' (von "Window Dressing"), 'Changing The
Guard' (von "Fence The Clear") oder der Viertelstünder 'Checkerboards' (ebenfalls von "Fence The Clear") beweisen, dass es die Band versteht komplexe Arrangements und tolle Melodien unter einen Hut zu
bringen.
Dass die Band dabei in die Songs ein paar Schlenker einbaut und mit 'A Minor Interlude' auch spontan sein kann, erhöht den Unterhaltungswert und den Livecharakter der vorliegenden 77 Minuten deutlich.
Für Fans und Entdecker ist "Off The Floor" damit eine durchaus lohnenswerte Angelegenheit geworden, auch wenn ich es persönlich besser gefunden hätte, wenn "Off The Floor" ein echtes Live-Album geworden
wäre.
Publication: Musikreviews.de
Country Of Origin: Germany
Review Date: February 8, 2013
Reviewer: Andreas Schiffmann
Smarter Albumtitel für eine Band mit dem Namen TILES: Kurz vor ihrem 20. Geburtstag rollen die amerikanischen Progger das Parkett vom Boden und hauen auf den Putz - indes im gelinden Rahmen, wie es sich für
ihre Zunft geziemt, nämlich mit einer live im Studio eingespielten Nabelschau. Nach "Presence In Europe", dem offiziellen Bootleg von 2000, liegt also kein wirklicher Fall von Wiederholungstat vor.
Was liegt da näher, als mit den Schlüsseltracks der Band zu beginnen? Dass die knappe Preziose "Modification" an dritter Stelle kommt, ist dahingehend stimmig. "Landscrape'" (von "Fly Paper", 2008) bleibt
dem Original ebenso verhaftet und führt gleich zu Anfang vor Augen, dass "Off The Floor" wenig Konzertfeeling versprüht, was allerdings zu erwarten war. Das treibende Slap-Fest "Token Pledge" profitiert
wiederum von der Impromptu-Ausgangssituation, ebenso das betörend schöne "The Wading Pool" von "Fence The Clear".
"Capture The Flag" klingt mit dem aktuellen Drummer Evans stärker als die ursprüngliche Fassung mit Pat DeLeon, obgleich das Schlagzeug und allem voran die Cymbals wärmer eingefangen worden sein könnten.
Matthew Parmenter und Keith Kaminski (Flötist) treten als Gäste beim angesprochenen "The Wading Pool" auf, ersterer zusätzlich im Balladen-Highlight "Changing The Guard", dessen wehmütiger Ton durch die
E-Geige verstärkt wird. Vom stärksten Album "Window Dressing" ragt das knorrige Titelstück heraus, ferner "Dress Rehearsal" von "Tiles" und "Checkerboards", der einzige Longtrack einer angenehm kompakten und
"singbaren" Veranstaltung.
Die Detroiter haben nach dem Weggang von "Inside Out" kommerziell Federn gelassen, und es wäre ihnen angesichts ihrer zahlreichen starken wie originellen Songs (mit RUSH mussten sie sich ja nicht selten auf
enervierende Weise vergleichen lassen, woran hier einmal mehr "Dragons, Dreams & Daring Deeds" erinnert) zu wünschen, wieder einen Fuß auf den Marktboden zu bekommen - auch abseits des bornierten
Prog-Inner-Circle.
FAZIT: "Off The Floor" bietet eine gute Gelegenheit, sich mit TILES vertraut zu machen, einer Band, die allen Freunden der kompakten Lesart von Progressive Rock ohne Kitsch anempfohlen seien. Hoffentlich
platziert sich die Band bald wieder mit einem neuen Album auf der Landkarte.
Publication: Metal.de
Country Of Origin: Germany
Review Date: February 20, 2013
Reviewer: Walter Scheurer
Anlässlich ihres nahenden 20. Bandjubiläums haben sich die Prog Rocker TILES etwa Besonderes einfallen lassen und kredenzen eine Art "Retrospektive" auf ihr bisheriges Werk und Wirken. Erwartungsgemäß würde
ich sagen, erweist sich das Unternehmen jedoch auch dabei als unkonventionell und hat ein besonderes Schmankerl anzubieten.
Anstelle einer - zu solchen Anlässen leider häufig mehr oder weniger lieblos zusammengestoppelten - "Best Of"-Compilation haben sich die Herren nämlich im Proberaum versammelt, um einige ihre essentiellsten
Nummern neu, "live“ und ohne Firlefanz einzuspielen, wobei uns die Amis am Ergebnis dieser "Session“ nicht nur teilnehmen lassen, sondern uns auch ein dermaßen "authentisches" Sound-Kostüm anzubieten haben,
dass man sich "mittendrinnen" wähnt.
Dennoch sollten nicht nur eingeschworene Fans der Truppe "Off The Floor" ihre Freude haben, sondern sich nun auch bis dato noch nicht mit der zwar eher unauffälligen, jedoch keineswegs unspektakulären
Gangart vertraute Zeitgenossen, die ihren Prog gerne ein wenig erdig sowie frei von Bombast und Frickeleien zu konsumieren pflegen und dennoch nicht auf elegant komponierte wie arrangierte Epen verzichten
wollen.
Von daher ist das Album als "Einstiegsdroge" wie geschaffen, gibt es doch darüber hinaus dennoch einen guten Überblick über das bisherige Schaffen der Band. Zu hören sind also sowohl Exzerpte vom
selbstbetitelten Debüt aus dem Jahr 1995 ("Dress Rehearsal“), wie auch Tracks der weiteren Veröffentlichungen und selbstredend auch des immer noch aktuellen 2008er Epos "Fly Paper" ("Landscrape“ - was für
ein Opener!).
Die auch in der Vergangenheit immer wieder zu vernehmenden Vergleiche zu RUSH dürften wohl auch bei "Off The Floor“ nicht ausbleiben, kein Wunder, denn auch in einer eher reduzierten Vortragsweise lassen
sich bei Perlen wie dem verspielten "Dragons, Dreams & Daring Deeds" die kanadischen Prog-Heroen nicht von der Hand weisen, selbst wenn sich TILES in ihrer Laufbahn bisher deutlich stärker an britischen
Helden (IQ, PALLAS oder auch frühe MARILLION kann man bei den Amis ebenso heraushören) orientiert haben.
Kurzum : Ein überaus gelungenes "Festtagsalbum“, das die Wartezeit auf ein neues Epos zumindest einigermaßen verkürzen kann, wobei dennoch hinzuzufügen ist, dass wir nun doch schon verdammt laaaannnngggeee
auf einen Nachfolger für "Fly Paper“ warten.
Publication: Obliveon.de
Country Of Origin: Germany
Review Date: 2013
Reviewer: CL
Lange nix mehr von Tiles gehört? Stimmt, „Fly Paper“ (2008) ist auch schon wieder ein paar Jährchen her… „Off The Floor“ ist allerdings kein neues Studiofutter der US-Progger und auch kein Live-Album im
klassischen Sinne, sondern präsentiert Tiles livehaftig im Studio, rockig und unbelassen wie seinerzeit „Presence In Europe“, wenngleich mit völlig anderem Sound-Zugang. Das wahrlich nicht oft tourende
Quartett hat sich also lieber in einen Klangtempel zurückgezogen statt sich mit den Unwägbarkeiten einer Gig-Aufnahme herumzuschlagen, und serviert hiermit als Gimmick zum 20-jährigen Jubiläum doch was
Feines, ja Exklusives. Gemischt von Koryphäenhand (Terry Brown) und verpackt in ein edles, gewohnt geschmackvolles Digi-Design eines ganz Großen (Hugh Syme), beschenken die vier Progster sich und uns mit
zwölf Retrospektiven, die ein ums andere Mal von kurzen Zwischenspielen, Jam-Parts und Gastbeiträgen (z.B. Matthew Parmenter mit Violinen- und Mellotron-Sequenzen) aufgepeppt werden. Wie ihren großen
Vorbildern Rush gelingt Tiles ebenso das Kunststück als zeitlich relevanter Lichtblick in einer Szene wahrgenommen zu werden, die sich oftmals die Worthülse Progressive zu Unrecht umhängt.
Publication: Prog Naut
Country Of Origin: USA
Review Date: December 2012
Reviewer: Jeff Matheus
Released in September of 2012, "Off the Floor" is the first official live album from American rockers TILES. Hailing from Detroit, Michigan, this quartet have been creating and perfecting their self-described
"progressive hard rock" style since 1993, and have previously recorded for US prog labels Magna Carta and InsideOut. Being born during the grungy heyday of Nirvana, Pearl Jam and anything else with a Seattle zip
code, Tiles tricky time signatures, clear, tenor vocals and epic song craft stood in stark contrast to the popular flavors of the day. But positive word-of-mouth in various prog publications, as well as an
opening-act spot with Kansas, soon helped them to build-up an appreciative audience in the US. Likewise, a 1999 tour opening for Dream Theater brought them a wider exposure in front of European audiences.
I would love to say that I've followed this band from day one, but the truth is that I'd never actually heard any of their music until I found a copy of their 1997 CD "Fence the Clear" in a used CD shop about
two years ago. I remembered hearing good things about Tiles from fellow prog fans, so I bought the CD on a whim, hoping for the best. After a few spins I found myself becoming a fan, and have since collected
most of their other CDs.
As for sound & style, Tiles can seem pretty raw & hard-edged when compared to the more lush, symphonic, keyboard-driven bands on the current prog scene. In fact, their music is predominantly based around
heavy-guitar, bass & drums, with synths used only minimally to fill out the 'wall of sound' or add the odd effect here and there. Of course, the band that Tiles has been most often compared (favorably) to is
Rush. I can definitely see the reasons for those comparisons, but such overreaching "sounds like" labels rarely tell the whole story. Rush-influenced? Yes, I'll agree to that. A Rush clone? No! These four
musicians have too many strengths and nuances of their own to be slagged off as clones. I think people have just grown too accustomed to generalizing in online music forums - "Magenta sounds like Yes". "I.Q.
sounds like old Genesis". "Tiles sounds like Rush"....yeah, except that when you dig deeper you'll find so much more.
Now, to give a bit of recorded history, Tiles have thus far released five full-length studio albums - "Tiles" (1994), "Fence the Clear" (1997), "Presents of Mind" (1999), "Window Dressing" (2004) and "Fly
Paper" (2008) - and it's those five albums, particularly "Fence the Clear" and "Fly Paper", that provide most of the 'set list' for this new live effort.
However, "Off the Floor" is not an ordinary live album. Don't expect any audience participation, screaming concertgoers or "I can't hear yous". Aside from being a clever play on the name Tiles, "Off the Floor"
is actually a common recording-studio term. It literally means "capturing a song in one complete live take, without adding any overdubs or audio corrections afterwards". So, this is indeed a live album, but
performed live in the controlled environment of a soundstage, with only a small (unheard) audience present to keep the band on their toes. The only other prog-rock example that comes to mind of this kind of
recording is the intimate, candlelit soundstage DVD released many years back by Conspiracy (the Chris Squire/Billy Sherwood collaboration.) But Tiles performances here come off as more emotional and spontaneous
than Conspiracy's did. In fact, though the liner notes warn of "a few 'jazz' notes, and even a false start", the songs sound so energetic that any such performance glitches become barely noticeable. Fans who
know the band's music will notice that they also go a step beyond just re-creating the studio versions, adding in a few brief guitar/bass interludes, extended band jams and occasional arrangement
'modifications' (yeah, that was a pun just for Tiles fans, folks)
As for individual songs, there are several that stood out for me...
The raucous nine minute epic "Capture the Flag" nicely sums up what Tiles' is all about. It's a satisfying mixture of melody and muscle, aptly displaying the band's multi-faceted writing style and dexterous
prog-rock chops - particularly those of the stellar rhythm section of Jeff Whittle (bass) and Mark Evans (drums). It also offers a great showcase for the clean, soaring vocals of Paul Rarick, who seems to have
found an extra dose of power in these recordings.
"Dragons, Dreams & Daring Deeds" is another impressive slice of harder-edged prog- - blessed with a strong vocal melody and some beefy guitar hooks from Chris Herin. The guitar is also very much the star of
"Hide In My Shadow", built around a monster opening riff that would make Alex Lifeson or Ian Crichton (Saga) proud. It also includes a very brief, unexpected turn into circus music - a "wtf" moment that only a
prog fan could love!
On the slightly quieter side - the melodious & majestic "Changing the Guard" was an instant favorite when I first heard it on "Fence the Clear". But the version here is even more emotionally powerful, with the
tempo slowed ever-so-slightly, as well as a guest violin spot from Matthew Parmenter of the prog band Discipline (also based out of Michigan).
But perhaps the most striking surprise is saved for last...In its original 1997 studio version, "The Wading Pool" was recorded using only an acoustic guitar and Rarick's plaintive voice. It was sort of like
Tiles' "Dust in the Wind" - a simple, stripped-down acoustic piece vastly different from the type of songs they're usually known for. Here, "The Wading Pool" is completely reborn with the addition of some
gorgeous melodic bass from Whittle, a guest flute spot from Keith Kaminski of the Motor City Horns, and, best of all, a dose of wonderfully "scratchy" vintage Mellotron sounds (Matthew Parmenter again). Rarick's
vocals soar above it all, convincingly delivering the song's poignant lyrics. It's a beautiful re-imagining that raises the song to new heights...and makes you wonder why it wasn't recorded this way
originally.
So, any criticisms?...Well, "Landscrape" seems like a strange choice to kick off the album. It's an opener so unrelentingly aggressive that first time listeners may think they've accidentally stumbled into a
thrash metal album! This was my least favorite track from 2008's "Fly Paper, and I'm afraid that it holds that same distinction here. It seems to me that either "Dragons, Dreams and Daring Deeds" or "Token
Pledge" would have made for a more inviting starting point. Those tracks are better representative of the "melody and muscle" approach that Tiles does so well, as well as being better showcases for Rarick's
vocal range.
The CD was mixed by renowned producer Terry Brown (Rush, Gowan, IQ) and the sound quality is strong throughout - sounding particularly good through headphones. Packaging is in a triple fold-out cardboard sleeve,
with liner notes by guitarist Chris Herin and cover art by Hugh Syme (Rush, Dream Theater, Queensryche) .
All in all, "Off the Floor" is a fine addition to the Tiles catalog, and serves as an unexpected gift to fans as we wait for the next studio album.
Publication: Sea of Tranquility
Country Of Origin: USA
Review Date: November 24, 2012
Reviewer: Mark Johnson
Every once in a while you find something unique and very interesting in the search for new music. Such is the case with Tiles. After reading their bio and about their search for a lead vocalist, they re-affirmed that age ole adage that "patience is a virtue."
Mark Evans: drums & percussion and Chris Herin: electric & acoustic guitar, mandolin, keyboards, and backing vocals started recording songs at the Old Schoolhouse in Ann Arbor, Michigan. They had a great set of 12 tracks, but definitely recognized the need for a strong vocalist to set themselves apart from the vast list of bands worldwide.
They had the fortune of being signed by Gene Simmons, yes, of Kiss and Simmons Records fame, which was quite a great start, to be sure. They had been signed as "Standing Pavement," but Simmons recommending shortening the name to one word. Therefore, "Tiles" was adopted instead. They later added Jeff Whittle: bass guitar, keyboards, and backing vocals. To make a long story short, it took two years to find Paul Rarick for lead vocals, but once they heard him, they all knew they had found the key.
As I said before, patience is a virtue, and "Landscrape" will test your patience immediately. One of my least favorite tracks on the album. I know they couldn't put it near the end with the fabulous epics, which close this album, but I would have left this one off. Don't lose hope. The rest of this album will more than make up for this opener. Sounds like every hard rock opener you may have heard from the past. Hang in there...it gets much better.
"Token Pledge" begins the rebound immediately. Hard to believe the band that made that first one made the rest of the album, but you will be rewarded. This track brings the Rush – oriented heavy bass and lead electric with powerful supporting drums you will hear throughout the rest of the album.
"Modification" brings some very cool changes to the sound. The opening sound effects will stun you and reward you for the wait. The ever evolving sound you will hear developing will win you over on this track or definitely the next.
"Capture the Flag," the first of the big epics will further strengthen my argument that this is one of the best new bands I've laid ears on in a while. This track opens with a Zeppelin – like explosion of sound that will have you movin' and groovin' to the pace. Then the bass and lead guitar lift the sound even further. Rarick's vocals will bring back memories of some of Geddy Lee's early 80's highlights. The music on this one is a great mix of LZ II and some of maybe Rush's "2112" or debut album. Heavy but wired perfectly. Those bouncing full drums will rock your ears. You even get some Crème inspired lead guitar and bass. Well worth the wait.
"Changing the Guard" is an acoustic guitar opener further enthralling you in their sound. The violin adds volumes to the deep sound on this track. At 7:18 minutes, this track though moody, will hold your attention and bring back memories of some glorious music of the past.
"Segue / Window Dressing (Part IV)" is an excellent bass and percussion opening that will immediately become an album favorite. When the power of the drums and lead guitars take off, hold on to your hat. This one rocks like an explosion of sound. Heavy bass and slow dragged electric guitar complete the sound, igniting memories.
With a title like "Dragons, Dreams & Daring Deeds," you can almost imagine the heavy guitars and drums that will besiege you. Well, no surprises, they are delivered at a Rush, breakneck pace. The percussion coming at you will make you swear that Neil Peart is playing. The virtuoso lead electric guitar will bring back even more memories. Sounds like one of the extra songs left off "Moving Pictures." "Dress Rehearsal" is an excellent lead electric guitar flight with supporting drums and percussion. "Hide in My Shadow" starts as another excellent guitar solo filled with excellent drums, bass and percussion. Rarick adds solid lead vocals and dark lyrics.
"A Minor Interlude" is a very cool guitar and keyboard instrumental which will prepare you for the epic closers to come. Perfect entry to the close of this album. The bass adds volumes to the sound. At over 15 minutes, "Checkerboards" is the amazing showstopper you bought this album to hear. It opens with a "view from the studio" with the band discussing how they will open the track. Bringing you the listener into the process. The mandolin opening is perfect. Then they open their version of the story of life. But they let the music do the talking. The fun begins. Lead electric blasting notes, with the bass closely following along. The drums, percussion, acoustic guitar all wade into the full stream of music being presented. Then, suddenly…an almost Rush/Yes – like quiet mid-section from "2112" or "And You and I." Slow strummed guitar and Rarick singing. "Disrupting the balance of nature". Yes, you can hear the influences everywhere. The guitars at the end may take you right back to the "Temples of Syrinx."
If the last epic track wasn't enough to lock in your vote, then "The Wading Pool" will seal the decision. The proggiest song they play on the album. I hope this is a glimpse of future albums. They add some mellotron and flute to make it perfect.
The album includes special guests: Matthew Parmenter: violin & backing vocals on "Changing the Guard" and mellotron on "The Wading Pool". Keith Kaminski plays flute on "The Wading Pool."
After a slow start this band closes well. If you want something new with the spirit and power of music you remember from the past, then this is your ticket.
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 2013
Reviewer: Michael Popke
Detroit progressive-rock survivor Tiles proves it's still in business with this live-in-the-studio recording of the band's best songs. This collection is loaded with hooks, extended solos, improvs and a rawness missing from the five excellent studio albums Tiles released between 1994 and 2008. In fact, the guys sound as if they've been dying to let loose like this for years.
Along Shadow Gallery, Enchant and Magellan, Tiles was on the roster of both Magna Carta and InsideOut Music during those labels' early days. The band's associations also include Kiss (an early deal with Gene Simmons' label) and Rush (Terry Brown has mixed most Tiles albums; Hugh Syme does the artwork, and the musical influence is obvious). Discipline's Matthew Parmenter shows off on Off The Floor as well - singing, playing violin and mellotron.
This disc commemorates almost 20 years with essentially the same lineup, and a track listing that sticks close to what Tiles played on its tour in support of 2008's Fly Paper. For an introduction, stick to the band's studio albums. Longtime fans, however, will love this.
Publication: Ytsejam.com
Country Of Origin: USA
Review Date: March 3, 2013
Reviewer: Koggie
The prog powerhouse from Detroit is celebrating their twenty years as a distinctive musical force – and what better way to celebrate than to record a live in the studio (CD) that focuses on what the band does best – rock out with a tight groove and intricate aesthetic, hence the Off the Floor title. Having constructed themselves on a reputation on stage as a powerful live band as well as delivering unique studio albums (many produced by Terry Brown), Tiles have built a following amongst the progressive rock and hard rock scenes, even caching the ears of Gene Simmons and Mike Portnoy along the way.
With Off the Floor, it’s as if you have a power trio with an additional front man; the connection between the band members have their stirring moments as strong as studio albums, and although it might have its flaws, as most live releases do, at least this music is honest. This set list delivers a career retrospective in new light with selections from their catalog, ranging from early to recent material – high points include the straight ahead rockers “Modification” & “Landscrape,” as well as voids being filled with the tech-minded “Hide in my Shadow” & “Token Pledge.” They even poke at balladry on both “Changing the Guard” & “The Wading Pool,” with the extended “Checkerboards” giving up a serving of multifaceted food for thought.
A great place to start for the curious, as Tiles stand on their own without any major synthetic sap that often reaches into the bloated side of prog, never overreaching to something that would be vainful to ponder musically upon. Until the next set of studio reels hit the racks, this will tide us over for now.
Publication: Babyblaue-seiten.de
Country Of Origin: Germany
Review Date: January 27, 2013
Reviewer: Thomas Kohlruß
Tiles sind eine Progmetal- / Progressive Hardrock- / Melodic Rock-Band der zweiten Reihe. So macher wird sagen, zu recht und hat damit vermutlich nicht mal unrecht. Zum einen stellt sich die Band selbst immer wieder in den Schatten der großen Vorbilder Rush, zum anderen scheut die Musik von Tiles große Risiken und es wird etwas zu gefällig agiert.
Nichtsdestotrotz kann die Musik von Tiles Spaß machen und unterhalten. Diese Mischung aus Rush-Riffing, epischen Rocksongs und kürzeren Hardrockern ist zwischendurch sicherlich manchmal genau das richtige um intelligent Abzurocken. Knackige Gitarren, druckvolles Bassspiel, wuseliges Drumming, die Musiker sind gute Techniker und gerade Chris Herin ist immer für eine Frickeleinlage gut. Es hapert eben, wie gesagt, ein bisschen an Eigenständigkeit. Sänger Paul Rarick ist sicherlich nicht jedermanns Liebling, macht seine Sache aber ordentlich. Gerade in der Livesituation hat er aber schon den einen oder anderen Wackler. Irgendwie stört das aber nicht, sondern wirkt eher menschlich und sympathisch. Dem Hörspaß tut es jedenfalls keinen Abbruch.
Da Tiles aber vermutlich trotzdem ein paar Fans haben – ein ziemlich prominenter ist Disciplines Matthew Parmenter, der hier auch wieder mit von der Partie ist -, wollten sie zum 20jährigen Bestehen was besonderes bieten. Ein Livealbum sollte her, dumm nur, dass Tiles eher selten touren und eher selten Konzerte geben. Also ging man in die Initiative und veranstaltete ein „Live-im-Studio-Konzert“ vor geladenen Gästen. So entstand also „Off The Floor“.
Immerhin ein Lebenszeichen, man musste sich ja schon sorgen machen, dass sich die Band aufgelöst hat. Tiles spielen eine Art Best of ihres bisherigen Schaffens. Leider sind die Zuschauerreaktionen nicht zu hören, so dass man „nur“ einem Studioalbum zu lauschen meint. Das ist ein bisschen schade, aber für Fans (und solche, die es werden wollen, he, he) ist sicherlich eine lohnenswerte Anschaffung.
Publication: Babyblaue-seiten.de
Country Of Origin: Germany
Review Date: March 29, 2013
Reviewer: Thorsten Gürntke
Abgehobener Titel für ein Album, abgehobenes Cover (wieso schwirrt da ein Abfluss rum?) und dazu bodenständige Musik. Wie geht das zusammen?
In diesem Falle möchte ich sagen: Geht nicht. Vor all zu langer Zeit hat mich mal "Fence The Clear" von Tiles fasziniert, der Nachfolger konnte mich wenig fesseln und ich verlor die Band aus den Ohren. Da sich nun die Chance bot, "Off The Floor" zu rezensieren, bekam die Band eine neue Chance. Mit einem Live Album, das nicht live klingt. Mit einem mumpfigen Sound, der nicht mitreißt.
Überhaupt klingt "Off The Floor" wenig dynamisch und voluminös. Das ist dem viel zu dumpfen Mix geschuldet (bei dem tatsächlich die frühere Rush-Produzenten-Ikone Terry Brown sein Finger im Spiel hatte), wahrscheinlich auch den nicht immer auf den Punkt arrangierten Stücken, die manchmal doch stark "erzwungen schief" klingen wollen und dann holprig und unwuchtig daherkommen. Neben dem basslastigem Mix wirkt die Gitarre wie direkt aus dem Verstärker abgenommen. Das klingt, als würde man in einer viel zu kleinen Garage sitzen, die Band spielt, der Bassmann hat voll aufgedreht und neben dir steht die Gitarrenmonitorbox und rattert. Und so ermüdet mich das Klangbild mit zunehmender Hördauer. Dieses "Sägen" mit Wattebauschbässen ist anstrengend. Was mich am meisten enttäuscht ist aber, dass man den - wenn auch klaren und guten - Gesang von Paul Rarick (ich mag seine Klangfarbe) ebenso "nebenher" hört. Die durchaus ansprechende Gesangsleistung verliert dadurch leider seine Aussagekraft, da sie nicht im Song platziert ist, sondern irgendwie nebenher läuft (vielleicht war die Garage doch zu eng und man hätte ihn nicht auf dem Flur singen lassen sollen?).
Spezielle Gimmicks, wie z.B. die von Matthew Parmenter gespielte Violine in "Changing The Guard" empfinde ich leider auch ein wenig überflüssig. Das war mal eines meiner Lieblingsstücke vom "Fence The Clear"-Album. Ich ziehe die Album Version weiterhin vor. Wie mein Vorschreiber schon gesagt hat, gehören Tiles zu der Reihe von Bands, die irgendwie in die zweite Reihe gehören. Leider muss ich das auch bestätigen. Denn viele Kompositionen wirken gleichförmig, wenig spannend und auf Distanz scheint mir das Album zu lang. Die wirklich guten Kompositionen lassen sich an einer Hand abzählen (Checkerboards, Dress Rehearsal, The Wading Pool [mit Parmenter am Mellotron, hier mal gut und Keith Kaminski an der Flöte]). Alles andere ist mehr oder weniger beliebiges Füllmaterial, bei dem man gerne gedanklich abschweift.
Ein wenig wehmütig habe ich nun diese Worte verfasst, denn irgendwie hatte ich mir gewünscht, jene Band wieder zu entdecken, die ich mal als hoffnungsvoll empfunden hatte. Leider ist dem nicht so und es bleibt der Eindruck eines unvollständigen, komischen Livealbums zurück, das leider erst mit den beiden letzten Kompositionen wirklich zu Hochform aufläuft und Spaß macht. Alles davor bewegt mich wenig bis gar nicht und ist mir zu beliebig, von der Songauswahl bis hin zu dem unglücklichen Mix. Da hätte man lieber auf neues Material setzen sollen, statt altes derart lauwarm zu servieren. Vielleicht auch deshalb der Abfluss auf dem Cover.
Publication: The Examiner
Country Of Origin: USA
Review Date: September 1, 2012
Reviewer: Michael Ostrich
Any anniversary is cause for celebration, but for the progressive rock band TILES, the 20th anniversary of the band is something a little bit unique. Considered too progressive to be a metal band and too metal to be a progressive band, Tiles (which features Chris Herin on guitar, Jeff Whittle on bass, Mark Evans on drums and Paul Rarick on vocals) has opted for the road less traveled. Left to their own devices, their latest studio release, 2008's "Fly Paper" is the best in the band's repertoire. Where the band truly captivates an audience is on the live stage, and the band has chosen their 20th anniversary to showcase some of their current live material.
Other than the "Presence In Europe" official bootleg (released in 2000), which saw the band open for Dream Theater in Europe back in November of 1999, their hasn't been much documentation of Tiles' live performances. Guitarist Herin explains that subsequent performances never really reached the heights of those shows, stating that "...we'd rehearse tirelessly for a festival or other "single" performance and never feel that same level of confidence on stage...". Based on an idea from Whittle to celebrate the 20th anniversary in some fashion, it was decided that a live document was the way to go. While the band agrees that live CDs aren't "fashionable", it is a great way to take a step back and really examine all that they have accomplished since their debut release back in 1994.
Recorded live at Sound Escape Studios in suburban Detroit (where the band members reside), "Off The Floor" is everything the band chose to display, and quite a bit more. The song selection (which hits all five of their studio albums) showcases the very best that the band has to offer. Not having a huge audience to worry about, allowed the band to, according to Herin, "...get comfortable & focus on the music." Herin continues to state that "...there's still the occasional 'jazz' note, tempos may drift ever-so-slightly, strings don't stay in tune, or keyboard samples slip a tad out of sync. But we didn't fix all these little imperfections that make live music interesting."
One of the many high points on "Off The Floor" is the track 'Capture The Flag' (featuring drummer Evans), which not only takes on but exceeds the studio version (done by Pat DeLeon, who was the drummer for the band's 2004 effort, "Window Dressing"). What's most interesting about 'Capture The Flag' is that the ending is totally improvised, something that bassist Whittle has mentioned that he is extremely proud of. Fan favorites are included here as well, such as 'Checkerboards' (from 1997's "Fence The Clear"), 'Token Pledge' (taken from 1994's debut self-titled release), 'Modification' (from 1999's "Presents Of Mind") and the opening track, the standout 'Landscrape' (which is on 2008's 'Fly Paper'). Joining the band is special guest Matthew Parmenter (of the band "Discipline") who plays violin and sings backing vocals on 'Changing The Guard'. A bonus on the album is a complete re-working of 'The Wading Pool', originally found on 1997's "Fence The Clear." Performed initially by Rarick and Herin alone, this new version features Keith Kaminski on flute and Parmenter on mellotron.
Mixed by Terry Brown (Rush, Cutting Crew), "Off The Floor" sounds as if you were listening (if you close your eyes) to the band live in your living room. "Off The Floor" is one that would not be out of place blasting out of your car on an cool and crisp autumn day as you zip down the highway. Released on the band's own label, Standing Pavement, "Off The Floor" can only be purchased from very limited retailers (including their own website and on iTunes). Where it might be a shame that a band this talented is still unknown to many in the progressive and metal circles, Tiles can hold their heads up high. "Off The Floor" is a great retrospective of the bands' past and present, and its' future is equally as bright.
Publication: Powermetal.de
Country Of Origin: Germany
Review Date: February 11, 2013
Reviewer: Peter Kubaschk
Vorweg: "Off The Floor" ist nicht das neue Studioalbum der US-Prog-Institution TILES. Vielmehr handelt es sich um eine live im Studio eingespielte Werkschau, die auf fünf Alben und zwanzig Jahre TILES zurückblickt.
Ein bisschen schräg ist die Idee ja schon, statt eines echten Live-Albums eines aufzunehmen, wo man beinahe gänzlich ohne Publikum im Studio die Songs live einspielt. Da fehlt natürlich ein wenig die Energie, die ein Konzert verströmen sollte.
Auf der anderen Seite beweist "Off The Floor", dass die Band prima eingespielt ist und zudem über einige tolle Nummern im Katalog verfügt. Songs wie 'Capture The Flag' (von "Window Dressing"), 'Changing The Guard' (von "Fence The Clear") oder der Viertelstünder 'Checkerboards' (ebenfalls von "Fence The Clear") beweisen, dass es die Band versteht komplexe Arrangements und tolle Melodien unter einen Hut zu bringen.
Dass die Band dabei in die Songs ein paar Schlenker einbaut und mit 'A Minor Interlude' auch spontan sein kann, erhöht den Unterhaltungswert und den Livecharakter der vorliegenden 77 Minuten deutlich.
Für Fans und Entdecker ist "Off The Floor" damit eine durchaus lohnenswerte Angelegenheit geworden, auch wenn ich es persönlich besser gefunden hätte, wenn "Off The Floor" ein echtes Live-Album geworden wäre.
Publication: Musikreviews.de
Country Of Origin: Germany
Review Date: February 8, 2013
Reviewer: Andreas Schiffmann
Smarter Albumtitel für eine Band mit dem Namen TILES: Kurz vor ihrem 20. Geburtstag rollen die amerikanischen Progger das Parkett vom Boden und hauen auf den Putz - indes im gelinden Rahmen, wie es sich für ihre Zunft geziemt, nämlich mit einer live im Studio eingespielten Nabelschau. Nach "Presence In Europe", dem offiziellen Bootleg von 2000, liegt also kein wirklicher Fall von Wiederholungstat vor.
Was liegt da näher, als mit den Schlüsseltracks der Band zu beginnen? Dass die knappe Preziose "Modification" an dritter Stelle kommt, ist dahingehend stimmig. "Landscrape'" (von "Fly Paper", 2008) bleibt dem Original ebenso verhaftet und führt gleich zu Anfang vor Augen, dass "Off The Floor" wenig Konzertfeeling versprüht, was allerdings zu erwarten war. Das treibende Slap-Fest "Token Pledge" profitiert wiederum von der Impromptu-Ausgangssituation, ebenso das betörend schöne "The Wading Pool" von "Fence The Clear".
"Capture The Flag" klingt mit dem aktuellen Drummer Evans stärker als die ursprüngliche Fassung mit Pat DeLeon, obgleich das Schlagzeug und allem voran die Cymbals wärmer eingefangen worden sein könnten. Matthew Parmenter und Keith Kaminski (Flötist) treten als Gäste beim angesprochenen "The Wading Pool" auf, ersterer zusätzlich im Balladen-Highlight "Changing The Guard", dessen wehmütiger Ton durch die E-Geige verstärkt wird. Vom stärksten Album "Window Dressing" ragt das knorrige Titelstück heraus, ferner "Dress Rehearsal" von "Tiles" und "Checkerboards", der einzige Longtrack einer angenehm kompakten und "singbaren" Veranstaltung.
Die Detroiter haben nach dem Weggang von "Inside Out" kommerziell Federn gelassen, und es wäre ihnen angesichts ihrer zahlreichen starken wie originellen Songs (mit RUSH mussten sie sich ja nicht selten auf enervierende Weise vergleichen lassen, woran hier einmal mehr "Dragons, Dreams & Daring Deeds" erinnert) zu wünschen, wieder einen Fuß auf den Marktboden zu bekommen - auch abseits des bornierten Prog-Inner-Circle.
FAZIT: "Off The Floor" bietet eine gute Gelegenheit, sich mit TILES vertraut zu machen, einer Band, die allen Freunden der kompakten Lesart von Progressive Rock ohne Kitsch anempfohlen seien. Hoffentlich platziert sich die Band bald wieder mit einem neuen Album auf der Landkarte.
Publication: Metal.de
Country Of Origin: Germany
Review Date: February 20, 2013
Reviewer: Walter Scheurer
Anlässlich ihres nahenden 20. Bandjubiläums haben sich die Prog Rocker TILES etwa Besonderes einfallen lassen und kredenzen eine Art "Retrospektive" auf ihr bisheriges Werk und Wirken. Erwartungsgemäß würde ich sagen, erweist sich das Unternehmen jedoch auch dabei als unkonventionell und hat ein besonderes Schmankerl anzubieten.
Anstelle einer - zu solchen Anlässen leider häufig mehr oder weniger lieblos zusammengestoppelten - "Best Of"-Compilation haben sich die Herren nämlich im Proberaum versammelt, um einige ihre essentiellsten Nummern neu, "live“ und ohne Firlefanz einzuspielen, wobei uns die Amis am Ergebnis dieser "Session“ nicht nur teilnehmen lassen, sondern uns auch ein dermaßen "authentisches" Sound-Kostüm anzubieten haben, dass man sich "mittendrinnen" wähnt.
Dennoch sollten nicht nur eingeschworene Fans der Truppe "Off The Floor" ihre Freude haben, sondern sich nun auch bis dato noch nicht mit der zwar eher unauffälligen, jedoch keineswegs unspektakulären Gangart vertraute Zeitgenossen, die ihren Prog gerne ein wenig erdig sowie frei von Bombast und Frickeleien zu konsumieren pflegen und dennoch nicht auf elegant komponierte wie arrangierte Epen verzichten wollen.
Von daher ist das Album als "Einstiegsdroge" wie geschaffen, gibt es doch darüber hinaus dennoch einen guten Überblick über das bisherige Schaffen der Band. Zu hören sind also sowohl Exzerpte vom selbstbetitelten Debüt aus dem Jahr 1995 ("Dress Rehearsal“), wie auch Tracks der weiteren Veröffentlichungen und selbstredend auch des immer noch aktuellen 2008er Epos "Fly Paper" ("Landscrape“ - was für ein Opener!).
Die auch in der Vergangenheit immer wieder zu vernehmenden Vergleiche zu RUSH dürften wohl auch bei "Off The Floor“ nicht ausbleiben, kein Wunder, denn auch in einer eher reduzierten Vortragsweise lassen sich bei Perlen wie dem verspielten "Dragons, Dreams & Daring Deeds" die kanadischen Prog-Heroen nicht von der Hand weisen, selbst wenn sich TILES in ihrer Laufbahn bisher deutlich stärker an britischen Helden (IQ, PALLAS oder auch frühe MARILLION kann man bei den Amis ebenso heraushören) orientiert haben.
Kurzum : Ein überaus gelungenes "Festtagsalbum“, das die Wartezeit auf ein neues Epos zumindest einigermaßen verkürzen kann, wobei dennoch hinzuzufügen ist, dass wir nun doch schon verdammt laaaannnngggeee auf einen Nachfolger für "Fly Paper“ warten.
Publication: Obliveon.de
Country Of Origin: Germany
Review Date: 2013
Reviewer: CL
Lange nix mehr von Tiles gehört? Stimmt, „Fly Paper“ (2008) ist auch schon wieder ein paar Jährchen her… „Off The Floor“ ist allerdings kein neues Studiofutter der US-Progger und auch kein Live-Album im klassischen Sinne, sondern präsentiert Tiles livehaftig im Studio, rockig und unbelassen wie seinerzeit „Presence In Europe“, wenngleich mit völlig anderem Sound-Zugang. Das wahrlich nicht oft tourende Quartett hat sich also lieber in einen Klangtempel zurückgezogen statt sich mit den Unwägbarkeiten einer Gig-Aufnahme herumzuschlagen, und serviert hiermit als Gimmick zum 20-jährigen Jubiläum doch was Feines, ja Exklusives. Gemischt von Koryphäenhand (Terry Brown) und verpackt in ein edles, gewohnt geschmackvolles Digi-Design eines ganz Großen (Hugh Syme), beschenken die vier Progster sich und uns mit zwölf Retrospektiven, die ein ums andere Mal von kurzen Zwischenspielen, Jam-Parts und Gastbeiträgen (z.B. Matthew Parmenter mit Violinen- und Mellotron-Sequenzen) aufgepeppt werden. Wie ihren großen Vorbildern Rush gelingt Tiles ebenso das Kunststück als zeitlich relevanter Lichtblick in einer Szene wahrgenommen zu werden, die sich oftmals die Worthülse Progressive zu Unrecht umhängt.
Publication: Prog Naut
Country Of Origin: USA
Review Date: December 2012
Reviewer: Jeff Matheus
Released in September of 2012, "Off the Floor" is the first official live album from American rockers TILES. Hailing from Detroit, Michigan, this quartet have been creating and perfecting their self-described "progressive hard rock" style since 1993, and have previously recorded for US prog labels Magna Carta and InsideOut. Being born during the grungy heyday of Nirvana, Pearl Jam and anything else with a Seattle zip code, Tiles tricky time signatures, clear, tenor vocals and epic song craft stood in stark contrast to the popular flavors of the day. But positive word-of-mouth in various prog publications, as well as an opening-act spot with Kansas, soon helped them to build-up an appreciative audience in the US. Likewise, a 1999 tour opening for Dream Theater brought them a wider exposure in front of European audiences.
I would love to say that I've followed this band from day one, but the truth is that I'd never actually heard any of their music until I found a copy of their 1997 CD "Fence the Clear" in a used CD shop about two years ago. I remembered hearing good things about Tiles from fellow prog fans, so I bought the CD on a whim, hoping for the best. After a few spins I found myself becoming a fan, and have since collected most of their other CDs.
As for sound & style, Tiles can seem pretty raw & hard-edged when compared to the more lush, symphonic, keyboard-driven bands on the current prog scene. In fact, their music is predominantly based around heavy-guitar, bass & drums, with synths used only minimally to fill out the 'wall of sound' or add the odd effect here and there. Of course, the band that Tiles has been most often compared (favorably) to is Rush. I can definitely see the reasons for those comparisons, but such overreaching "sounds like" labels rarely tell the whole story. Rush-influenced? Yes, I'll agree to that. A Rush clone? No! These four musicians have too many strengths and nuances of their own to be slagged off as clones. I think people have just grown too accustomed to generalizing in online music forums - "Magenta sounds like Yes". "I.Q. sounds like old Genesis". "Tiles sounds like Rush"....yeah, except that when you dig deeper you'll find so much more.
Now, to give a bit of recorded history, Tiles have thus far released five full-length studio albums - "Tiles" (1994), "Fence the Clear" (1997), "Presents of Mind" (1999), "Window Dressing" (2004) and "Fly Paper" (2008) - and it's those five albums, particularly "Fence the Clear" and "Fly Paper", that provide most of the 'set list' for this new live effort.
However, "Off the Floor" is not an ordinary live album. Don't expect any audience participation, screaming concertgoers or "I can't hear yous". Aside from being a clever play on the name Tiles, "Off the Floor" is actually a common recording-studio term. It literally means "capturing a song in one complete live take, without adding any overdubs or audio corrections afterwards". So, this is indeed a live album, but performed live in the controlled environment of a soundstage, with only a small (unheard) audience present to keep the band on their toes. The only other prog-rock example that comes to mind of this kind of recording is the intimate, candlelit soundstage DVD released many years back by Conspiracy (the Chris Squire/Billy Sherwood collaboration.) But Tiles performances here come off as more emotional and spontaneous than Conspiracy's did. In fact, though the liner notes warn of "a few 'jazz' notes, and even a false start", the songs sound so energetic that any such performance glitches become barely noticeable. Fans who know the band's music will notice that they also go a step beyond just re-creating the studio versions, adding in a few brief guitar/bass interludes, extended band jams and occasional arrangement 'modifications' (yeah, that was a pun just for Tiles fans, folks)
As for individual songs, there are several that stood out for me...
The raucous nine minute epic "Capture the Flag" nicely sums up what Tiles' is all about. It's a satisfying mixture of melody and muscle, aptly displaying the band's multi-faceted writing style and dexterous prog-rock chops - particularly those of the stellar rhythm section of Jeff Whittle (bass) and Mark Evans (drums). It also offers a great showcase for the clean, soaring vocals of Paul Rarick, who seems to have found an extra dose of power in these recordings.
"Dragons, Dreams & Daring Deeds" is another impressive slice of harder-edged prog- - blessed with a strong vocal melody and some beefy guitar hooks from Chris Herin. The guitar is also very much the star of "Hide In My Shadow", built around a monster opening riff that would make Alex Lifeson or Ian Crichton (Saga) proud. It also includes a very brief, unexpected turn into circus music - a "wtf" moment that only a prog fan could love!
On the slightly quieter side - the melodious & majestic "Changing the Guard" was an instant favorite when I first heard it on "Fence the Clear". But the version here is even more emotionally powerful, with the tempo slowed ever-so-slightly, as well as a guest violin spot from Matthew Parmenter of the prog band Discipline (also based out of Michigan).
But perhaps the most striking surprise is saved for last...In its original 1997 studio version, "The Wading Pool" was recorded using only an acoustic guitar and Rarick's plaintive voice. It was sort of like Tiles' "Dust in the Wind" - a simple, stripped-down acoustic piece vastly different from the type of songs they're usually known for. Here, "The Wading Pool" is completely reborn with the addition of some gorgeous melodic bass from Whittle, a guest flute spot from Keith Kaminski of the Motor City Horns, and, best of all, a dose of wonderfully "scratchy" vintage Mellotron sounds (Matthew Parmenter again). Rarick's vocals soar above it all, convincingly delivering the song's poignant lyrics. It's a beautiful re-imagining that raises the song to new heights...and makes you wonder why it wasn't recorded this way originally.
So, any criticisms?...Well, "Landscrape" seems like a strange choice to kick off the album. It's an opener so unrelentingly aggressive that first time listeners may think they've accidentally stumbled into a thrash metal album! This was my least favorite track from 2008's "Fly Paper, and I'm afraid that it holds that same distinction here. It seems to me that either "Dragons, Dreams and Daring Deeds" or "Token Pledge" would have made for a more inviting starting point. Those tracks are better representative of the "melody and muscle" approach that Tiles does so well, as well as being better showcases for Rarick's vocal range.
The CD was mixed by renowned producer Terry Brown (Rush, Gowan, IQ) and the sound quality is strong throughout - sounding particularly good through headphones. Packaging is in a triple fold-out cardboard sleeve, with liner notes by guitarist Chris Herin and cover art by Hugh Syme (Rush, Dream Theater, Queensryche) .
All in all, "Off the Floor" is a fine addition to the Tiles catalog, and serves as an unexpected gift to fans as we wait for the next studio album.
Country Of Origin: USA
Review Date: November 24, 2012
Reviewer: Mark Johnson
Every once in a while you find something unique and very interesting in the search for new music. Such is the case with Tiles. After reading their bio and about their search for a lead vocalist, they re-affirmed that age ole adage that "patience is a virtue."
Mark Evans: drums & percussion and Chris Herin: electric & acoustic guitar, mandolin, keyboards, and backing vocals started recording songs at the Old Schoolhouse in Ann Arbor, Michigan. They had a great set of 12 tracks, but definitely recognized the need for a strong vocalist to set themselves apart from the vast list of bands worldwide.
They had the fortune of being signed by Gene Simmons, yes, of Kiss and Simmons Records fame, which was quite a great start, to be sure. They had been signed as "Standing Pavement," but Simmons recommending shortening the name to one word. Therefore, "Tiles" was adopted instead. They later added Jeff Whittle: bass guitar, keyboards, and backing vocals. To make a long story short, it took two years to find Paul Rarick for lead vocals, but once they heard him, they all knew they had found the key.
As I said before, patience is a virtue, and "Landscrape" will test your patience immediately. One of my least favorite tracks on the album. I know they couldn't put it near the end with the fabulous epics, which close this album, but I would have left this one off. Don't lose hope. The rest of this album will more than make up for this opener. Sounds like every hard rock opener you may have heard from the past. Hang in there...it gets much better.
"Token Pledge" begins the rebound immediately. Hard to believe the band that made that first one made the rest of the album, but you will be rewarded. This track brings the Rush – oriented heavy bass and lead electric with powerful supporting drums you will hear throughout the rest of the album.
"Modification" brings some very cool changes to the sound. The opening sound effects will stun you and reward you for the wait. The ever evolving sound you will hear developing will win you over on this track or definitely the next.
"Capture the Flag," the first of the big epics will further strengthen my argument that this is one of the best new bands I've laid ears on in a while. This track opens with a Zeppelin – like explosion of sound that will have you movin' and groovin' to the pace. Then the bass and lead guitar lift the sound even further. Rarick's vocals will bring back memories of some of Geddy Lee's early 80's highlights. The music on this one is a great mix of LZ II and some of maybe Rush's "2112" or debut album. Heavy but wired perfectly. Those bouncing full drums will rock your ears. You even get some Crème inspired lead guitar and bass. Well worth the wait.
"Changing the Guard" is an acoustic guitar opener further enthralling you in their sound. The violin adds volumes to the deep sound on this track. At 7:18 minutes, this track though moody, will hold your attention and bring back memories of some glorious music of the past.
"Segue / Window Dressing (Part IV)" is an excellent bass and percussion opening that will immediately become an album favorite. When the power of the drums and lead guitars take off, hold on to your hat. This one rocks like an explosion of sound. Heavy bass and slow dragged electric guitar complete the sound, igniting memories.
With a title like "Dragons, Dreams & Daring Deeds," you can almost imagine the heavy guitars and drums that will besiege you. Well, no surprises, they are delivered at a Rush, breakneck pace. The percussion coming at you will make you swear that Neil Peart is playing. The virtuoso lead electric guitar will bring back even more memories. Sounds like one of the extra songs left off "Moving Pictures." "Dress Rehearsal" is an excellent lead electric guitar flight with supporting drums and percussion. "Hide in My Shadow" starts as another excellent guitar solo filled with excellent drums, bass and percussion. Rarick adds solid lead vocals and dark lyrics.
"A Minor Interlude" is a very cool guitar and keyboard instrumental which will prepare you for the epic closers to come. Perfect entry to the close of this album. The bass adds volumes to the sound. At over 15 minutes, "Checkerboards" is the amazing showstopper you bought this album to hear. It opens with a "view from the studio" with the band discussing how they will open the track. Bringing you the listener into the process. The mandolin opening is perfect. Then they open their version of the story of life. But they let the music do the talking. The fun begins. Lead electric blasting notes, with the bass closely following along. The drums, percussion, acoustic guitar all wade into the full stream of music being presented. Then, suddenly…an almost Rush/Yes – like quiet mid-section from "2112" or "And You and I." Slow strummed guitar and Rarick singing. "Disrupting the balance of nature". Yes, you can hear the influences everywhere. The guitars at the end may take you right back to the "Temples of Syrinx."
If the last epic track wasn't enough to lock in your vote, then "The Wading Pool" will seal the decision. The proggiest song they play on the album. I hope this is a glimpse of future albums. They add some mellotron and flute to make it perfect.
The album includes special guests: Matthew Parmenter: violin & backing vocals on "Changing the Guard" and mellotron on "The Wading Pool". Keith Kaminski plays flute on "The Wading Pool."
After a slow start this band closes well. If you want something new with the spirit and power of music you remember from the past, then this is your ticket.
Publication: Progression Magazine
Country Of Origin: USA
Review Date: Spring 2013
Reviewer: Michael Popke
Detroit progressive-rock survivor Tiles proves it's still in business with this live-in-the-studio recording of the band's best songs. This collection is loaded with hooks, extended solos, improvs and a rawness missing from the five excellent studio albums Tiles released between 1994 and 2008. In fact, the guys sound as if they've been dying to let loose like this for years.
Along Shadow Gallery, Enchant and Magellan, Tiles was on the roster of both Magna Carta and InsideOut Music during those labels' early days. The band's associations also include Kiss (an early deal with Gene Simmons' label) and Rush (Terry Brown has mixed most Tiles albums; Hugh Syme does the artwork, and the musical influence is obvious). Discipline's Matthew Parmenter shows off on Off The Floor as well - singing, playing violin and mellotron.
This disc commemorates almost 20 years with essentially the same lineup, and a track listing that sticks close to what Tiles played on its tour in support of 2008's Fly Paper. For an introduction, stick to the band's studio albums. Longtime fans, however, will love this.
Publication: Ytsejam.com
Country Of Origin: USA
Review Date: March 3, 2013
Reviewer: Koggie
The prog powerhouse from Detroit is celebrating their twenty years as a distinctive musical force – and what better way to celebrate than to record a live in the studio (CD) that focuses on what the band does best – rock out with a tight groove and intricate aesthetic, hence the Off the Floor title. Having constructed themselves on a reputation on stage as a powerful live band as well as delivering unique studio albums (many produced by Terry Brown), Tiles have built a following amongst the progressive rock and hard rock scenes, even caching the ears of Gene Simmons and Mike Portnoy along the way.
With Off the Floor, it’s as if you have a power trio with an additional front man; the connection between the band members have their stirring moments as strong as studio albums, and although it might have its flaws, as most live releases do, at least this music is honest. This set list delivers a career retrospective in new light with selections from their catalog, ranging from early to recent material – high points include the straight ahead rockers “Modification” & “Landscrape,” as well as voids being filled with the tech-minded “Hide in my Shadow” & “Token Pledge.” They even poke at balladry on both “Changing the Guard” & “The Wading Pool,” with the extended “Checkerboards” giving up a serving of multifaceted food for thought.
A great place to start for the curious, as Tiles stand on their own without any major synthetic sap that often reaches into the bloated side of prog, never overreaching to something that would be vainful to ponder musically upon. Until the next set of studio reels hit the racks, this will tide us over for now.
Publication: Babyblaue-seiten.de
Country Of Origin: Germany
Review Date: January 27, 2013
Reviewer: Thomas Kohlruß
Tiles sind eine Progmetal- / Progressive Hardrock- / Melodic Rock-Band der zweiten Reihe. So macher wird sagen, zu recht und hat damit vermutlich nicht mal unrecht. Zum einen stellt sich die Band selbst immer wieder in den Schatten der großen Vorbilder Rush, zum anderen scheut die Musik von Tiles große Risiken und es wird etwas zu gefällig agiert.
Nichtsdestotrotz kann die Musik von Tiles Spaß machen und unterhalten. Diese Mischung aus Rush-Riffing, epischen Rocksongs und kürzeren Hardrockern ist zwischendurch sicherlich manchmal genau das richtige um intelligent Abzurocken. Knackige Gitarren, druckvolles Bassspiel, wuseliges Drumming, die Musiker sind gute Techniker und gerade Chris Herin ist immer für eine Frickeleinlage gut. Es hapert eben, wie gesagt, ein bisschen an Eigenständigkeit. Sänger Paul Rarick ist sicherlich nicht jedermanns Liebling, macht seine Sache aber ordentlich. Gerade in der Livesituation hat er aber schon den einen oder anderen Wackler. Irgendwie stört das aber nicht, sondern wirkt eher menschlich und sympathisch. Dem Hörspaß tut es jedenfalls keinen Abbruch.
Da Tiles aber vermutlich trotzdem ein paar Fans haben – ein ziemlich prominenter ist Disciplines Matthew Parmenter, der hier auch wieder mit von der Partie ist -, wollten sie zum 20jährigen Bestehen was besonderes bieten. Ein Livealbum sollte her, dumm nur, dass Tiles eher selten touren und eher selten Konzerte geben. Also ging man in die Initiative und veranstaltete ein „Live-im-Studio-Konzert“ vor geladenen Gästen. So entstand also „Off The Floor“.
Immerhin ein Lebenszeichen, man musste sich ja schon sorgen machen, dass sich die Band aufgelöst hat. Tiles spielen eine Art Best of ihres bisherigen Schaffens. Leider sind die Zuschauerreaktionen nicht zu hören, so dass man „nur“ einem Studioalbum zu lauschen meint. Das ist ein bisschen schade, aber für Fans (und solche, die es werden wollen, he, he) ist sicherlich eine lohnenswerte Anschaffung.
Publication: Babyblaue-seiten.de
Country Of Origin: Germany
Review Date: March 29, 2013
Reviewer: Thorsten Gürntke
Abgehobener Titel für ein Album, abgehobenes Cover (wieso schwirrt da ein Abfluss rum?) und dazu bodenständige Musik. Wie geht das zusammen?
In diesem Falle möchte ich sagen: Geht nicht. Vor all zu langer Zeit hat mich mal "Fence The Clear" von Tiles fasziniert, der Nachfolger konnte mich wenig fesseln und ich verlor die Band aus den Ohren. Da sich nun die Chance bot, "Off The Floor" zu rezensieren, bekam die Band eine neue Chance. Mit einem Live Album, das nicht live klingt. Mit einem mumpfigen Sound, der nicht mitreißt.
Überhaupt klingt "Off The Floor" wenig dynamisch und voluminös. Das ist dem viel zu dumpfen Mix geschuldet (bei dem tatsächlich die frühere Rush-Produzenten-Ikone Terry Brown sein Finger im Spiel hatte), wahrscheinlich auch den nicht immer auf den Punkt arrangierten Stücken, die manchmal doch stark "erzwungen schief" klingen wollen und dann holprig und unwuchtig daherkommen. Neben dem basslastigem Mix wirkt die Gitarre wie direkt aus dem Verstärker abgenommen. Das klingt, als würde man in einer viel zu kleinen Garage sitzen, die Band spielt, der Bassmann hat voll aufgedreht und neben dir steht die Gitarrenmonitorbox und rattert. Und so ermüdet mich das Klangbild mit zunehmender Hördauer. Dieses "Sägen" mit Wattebauschbässen ist anstrengend. Was mich am meisten enttäuscht ist aber, dass man den - wenn auch klaren und guten - Gesang von Paul Rarick (ich mag seine Klangfarbe) ebenso "nebenher" hört. Die durchaus ansprechende Gesangsleistung verliert dadurch leider seine Aussagekraft, da sie nicht im Song platziert ist, sondern irgendwie nebenher läuft (vielleicht war die Garage doch zu eng und man hätte ihn nicht auf dem Flur singen lassen sollen?).
Spezielle Gimmicks, wie z.B. die von Matthew Parmenter gespielte Violine in "Changing The Guard" empfinde ich leider auch ein wenig überflüssig. Das war mal eines meiner Lieblingsstücke vom "Fence The Clear"-Album. Ich ziehe die Album Version weiterhin vor. Wie mein Vorschreiber schon gesagt hat, gehören Tiles zu der Reihe von Bands, die irgendwie in die zweite Reihe gehören. Leider muss ich das auch bestätigen. Denn viele Kompositionen wirken gleichförmig, wenig spannend und auf Distanz scheint mir das Album zu lang. Die wirklich guten Kompositionen lassen sich an einer Hand abzählen (Checkerboards, Dress Rehearsal, The Wading Pool [mit Parmenter am Mellotron, hier mal gut und Keith Kaminski an der Flöte]). Alles andere ist mehr oder weniger beliebiges Füllmaterial, bei dem man gerne gedanklich abschweift.
Ein wenig wehmütig habe ich nun diese Worte verfasst, denn irgendwie hatte ich mir gewünscht, jene Band wieder zu entdecken, die ich mal als hoffnungsvoll empfunden hatte. Leider ist dem nicht so und es bleibt der Eindruck eines unvollständigen, komischen Livealbums zurück, das leider erst mit den beiden letzten Kompositionen wirklich zu Hochform aufläuft und Spaß macht. Alles davor bewegt mich wenig bis gar nicht und ist mir zu beliebig, von der Songauswahl bis hin zu dem unglücklichen Mix. Da hätte man lieber auf neues Material setzen sollen, statt altes derart lauwarm zu servieren. Vielleicht auch deshalb der Abfluss auf dem Cover.
Publication: The Examiner
Country Of Origin: USA
Review Date: September 1, 2012
Reviewer: Michael Ostrich
Any anniversary is cause for celebration, but for the progressive rock band TILES, the 20th anniversary of the band is something a little bit unique. Considered too progressive to be a metal band and too metal to be a progressive band, Tiles (which features Chris Herin on guitar, Jeff Whittle on bass, Mark Evans on drums and Paul Rarick on vocals) has opted for the road less traveled. Left to their own devices, their latest studio release, 2008's "Fly Paper" is the best in the band's repertoire. Where the band truly captivates an audience is on the live stage, and the band has chosen their 20th anniversary to showcase some of their current live material.
Other than the "Presence In Europe" official bootleg (released in 2000), which saw the band open for Dream Theater in Europe back in November of 1999, their hasn't been much documentation of Tiles' live performances. Guitarist Herin explains that subsequent performances never really reached the heights of those shows, stating that "...we'd rehearse tirelessly for a festival or other "single" performance and never feel that same level of confidence on stage...". Based on an idea from Whittle to celebrate the 20th anniversary in some fashion, it was decided that a live document was the way to go. While the band agrees that live CDs aren't "fashionable", it is a great way to take a step back and really examine all that they have accomplished since their debut release back in 1994.
Recorded live at Sound Escape Studios in suburban Detroit (where the band members reside), "Off The Floor" is everything the band chose to display, and quite a bit more. The song selection (which hits all five of their studio albums) showcases the very best that the band has to offer. Not having a huge audience to worry about, allowed the band to, according to Herin, "...get comfortable & focus on the music." Herin continues to state that "...there's still the occasional 'jazz' note, tempos may drift ever-so-slightly, strings don't stay in tune, or keyboard samples slip a tad out of sync. But we didn't fix all these little imperfections that make live music interesting."
One of the many high points on "Off The Floor" is the track 'Capture The Flag' (featuring drummer Evans), which not only takes on but exceeds the studio version (done by Pat DeLeon, who was the drummer for the band's 2004 effort, "Window Dressing"). What's most interesting about 'Capture The Flag' is that the ending is totally improvised, something that bassist Whittle has mentioned that he is extremely proud of. Fan favorites are included here as well, such as 'Checkerboards' (from 1997's "Fence The Clear"), 'Token Pledge' (taken from 1994's debut self-titled release), 'Modification' (from 1999's "Presents Of Mind") and the opening track, the standout 'Landscrape' (which is on 2008's 'Fly Paper'). Joining the band is special guest Matthew Parmenter (of the band "Discipline") who plays violin and sings backing vocals on 'Changing The Guard'. A bonus on the album is a complete re-working of 'The Wading Pool', originally found on 1997's "Fence The Clear." Performed initially by Rarick and Herin alone, this new version features Keith Kaminski on flute and Parmenter on mellotron.
Mixed by Terry Brown (Rush, Cutting Crew), "Off The Floor" sounds as if you were listening (if you close your eyes) to the band live in your living room. "Off The Floor" is one that would not be out of place blasting out of your car on an cool and crisp autumn day as you zip down the highway. Released on the band's own label, Standing Pavement, "Off The Floor" can only be purchased from very limited retailers (including their own website and on iTunes). Where it might be a shame that a band this talented is still unknown to many in the progressive and metal circles, Tiles can hold their heads up high. "Off The Floor" is a great retrospective of the bands' past and present, and its' future is equally as bright.
Publication: Powermetal.de
Country Of Origin: Germany
Review Date: February 11, 2013
Reviewer: Peter Kubaschk
Vorweg: "Off The Floor" ist nicht das neue Studioalbum der US-Prog-Institution TILES. Vielmehr handelt es sich um eine live im Studio eingespielte Werkschau, die auf fünf Alben und zwanzig Jahre TILES zurückblickt.
Ein bisschen schräg ist die Idee ja schon, statt eines echten Live-Albums eines aufzunehmen, wo man beinahe gänzlich ohne Publikum im Studio die Songs live einspielt. Da fehlt natürlich ein wenig die Energie, die ein Konzert verströmen sollte.
Auf der anderen Seite beweist "Off The Floor", dass die Band prima eingespielt ist und zudem über einige tolle Nummern im Katalog verfügt. Songs wie 'Capture The Flag' (von "Window Dressing"), 'Changing The Guard' (von "Fence The Clear") oder der Viertelstünder 'Checkerboards' (ebenfalls von "Fence The Clear") beweisen, dass es die Band versteht komplexe Arrangements und tolle Melodien unter einen Hut zu bringen.
Dass die Band dabei in die Songs ein paar Schlenker einbaut und mit 'A Minor Interlude' auch spontan sein kann, erhöht den Unterhaltungswert und den Livecharakter der vorliegenden 77 Minuten deutlich.
Für Fans und Entdecker ist "Off The Floor" damit eine durchaus lohnenswerte Angelegenheit geworden, auch wenn ich es persönlich besser gefunden hätte, wenn "Off The Floor" ein echtes Live-Album geworden wäre.
Publication: Musikreviews.de
Country Of Origin: Germany
Review Date: February 8, 2013
Reviewer: Andreas Schiffmann
Smarter Albumtitel für eine Band mit dem Namen TILES: Kurz vor ihrem 20. Geburtstag rollen die amerikanischen Progger das Parkett vom Boden und hauen auf den Putz - indes im gelinden Rahmen, wie es sich für ihre Zunft geziemt, nämlich mit einer live im Studio eingespielten Nabelschau. Nach "Presence In Europe", dem offiziellen Bootleg von 2000, liegt also kein wirklicher Fall von Wiederholungstat vor.
Was liegt da näher, als mit den Schlüsseltracks der Band zu beginnen? Dass die knappe Preziose "Modification" an dritter Stelle kommt, ist dahingehend stimmig. "Landscrape'" (von "Fly Paper", 2008) bleibt dem Original ebenso verhaftet und führt gleich zu Anfang vor Augen, dass "Off The Floor" wenig Konzertfeeling versprüht, was allerdings zu erwarten war. Das treibende Slap-Fest "Token Pledge" profitiert wiederum von der Impromptu-Ausgangssituation, ebenso das betörend schöne "The Wading Pool" von "Fence The Clear".
"Capture The Flag" klingt mit dem aktuellen Drummer Evans stärker als die ursprüngliche Fassung mit Pat DeLeon, obgleich das Schlagzeug und allem voran die Cymbals wärmer eingefangen worden sein könnten. Matthew Parmenter und Keith Kaminski (Flötist) treten als Gäste beim angesprochenen "The Wading Pool" auf, ersterer zusätzlich im Balladen-Highlight "Changing The Guard", dessen wehmütiger Ton durch die E-Geige verstärkt wird. Vom stärksten Album "Window Dressing" ragt das knorrige Titelstück heraus, ferner "Dress Rehearsal" von "Tiles" und "Checkerboards", der einzige Longtrack einer angenehm kompakten und "singbaren" Veranstaltung.
Die Detroiter haben nach dem Weggang von "Inside Out" kommerziell Federn gelassen, und es wäre ihnen angesichts ihrer zahlreichen starken wie originellen Songs (mit RUSH mussten sie sich ja nicht selten auf enervierende Weise vergleichen lassen, woran hier einmal mehr "Dragons, Dreams & Daring Deeds" erinnert) zu wünschen, wieder einen Fuß auf den Marktboden zu bekommen - auch abseits des bornierten Prog-Inner-Circle.
FAZIT: "Off The Floor" bietet eine gute Gelegenheit, sich mit TILES vertraut zu machen, einer Band, die allen Freunden der kompakten Lesart von Progressive Rock ohne Kitsch anempfohlen seien. Hoffentlich platziert sich die Band bald wieder mit einem neuen Album auf der Landkarte.
Publication: Metal.de
Country Of Origin: Germany
Review Date: February 20, 2013
Reviewer: Walter Scheurer
Anlässlich ihres nahenden 20. Bandjubiläums haben sich die Prog Rocker TILES etwa Besonderes einfallen lassen und kredenzen eine Art "Retrospektive" auf ihr bisheriges Werk und Wirken. Erwartungsgemäß würde ich sagen, erweist sich das Unternehmen jedoch auch dabei als unkonventionell und hat ein besonderes Schmankerl anzubieten.
Anstelle einer - zu solchen Anlässen leider häufig mehr oder weniger lieblos zusammengestoppelten - "Best Of"-Compilation haben sich die Herren nämlich im Proberaum versammelt, um einige ihre essentiellsten Nummern neu, "live“ und ohne Firlefanz einzuspielen, wobei uns die Amis am Ergebnis dieser "Session“ nicht nur teilnehmen lassen, sondern uns auch ein dermaßen "authentisches" Sound-Kostüm anzubieten haben, dass man sich "mittendrinnen" wähnt.
Dennoch sollten nicht nur eingeschworene Fans der Truppe "Off The Floor" ihre Freude haben, sondern sich nun auch bis dato noch nicht mit der zwar eher unauffälligen, jedoch keineswegs unspektakulären Gangart vertraute Zeitgenossen, die ihren Prog gerne ein wenig erdig sowie frei von Bombast und Frickeleien zu konsumieren pflegen und dennoch nicht auf elegant komponierte wie arrangierte Epen verzichten wollen.
Von daher ist das Album als "Einstiegsdroge" wie geschaffen, gibt es doch darüber hinaus dennoch einen guten Überblick über das bisherige Schaffen der Band. Zu hören sind also sowohl Exzerpte vom selbstbetitelten Debüt aus dem Jahr 1995 ("Dress Rehearsal“), wie auch Tracks der weiteren Veröffentlichungen und selbstredend auch des immer noch aktuellen 2008er Epos "Fly Paper" ("Landscrape“ - was für ein Opener!).
Die auch in der Vergangenheit immer wieder zu vernehmenden Vergleiche zu RUSH dürften wohl auch bei "Off The Floor“ nicht ausbleiben, kein Wunder, denn auch in einer eher reduzierten Vortragsweise lassen sich bei Perlen wie dem verspielten "Dragons, Dreams & Daring Deeds" die kanadischen Prog-Heroen nicht von der Hand weisen, selbst wenn sich TILES in ihrer Laufbahn bisher deutlich stärker an britischen Helden (IQ, PALLAS oder auch frühe MARILLION kann man bei den Amis ebenso heraushören) orientiert haben.
Kurzum : Ein überaus gelungenes "Festtagsalbum“, das die Wartezeit auf ein neues Epos zumindest einigermaßen verkürzen kann, wobei dennoch hinzuzufügen ist, dass wir nun doch schon verdammt laaaannnngggeee auf einen Nachfolger für "Fly Paper“ warten.
Publication: Obliveon.de
Country Of Origin: Germany
Review Date: 2013
Reviewer: CL
Lange nix mehr von Tiles gehört? Stimmt, „Fly Paper“ (2008) ist auch schon wieder ein paar Jährchen her… „Off The Floor“ ist allerdings kein neues Studiofutter der US-Progger und auch kein Live-Album im klassischen Sinne, sondern präsentiert Tiles livehaftig im Studio, rockig und unbelassen wie seinerzeit „Presence In Europe“, wenngleich mit völlig anderem Sound-Zugang. Das wahrlich nicht oft tourende Quartett hat sich also lieber in einen Klangtempel zurückgezogen statt sich mit den Unwägbarkeiten einer Gig-Aufnahme herumzuschlagen, und serviert hiermit als Gimmick zum 20-jährigen Jubiläum doch was Feines, ja Exklusives. Gemischt von Koryphäenhand (Terry Brown) und verpackt in ein edles, gewohnt geschmackvolles Digi-Design eines ganz Großen (Hugh Syme), beschenken die vier Progster sich und uns mit zwölf Retrospektiven, die ein ums andere Mal von kurzen Zwischenspielen, Jam-Parts und Gastbeiträgen (z.B. Matthew Parmenter mit Violinen- und Mellotron-Sequenzen) aufgepeppt werden. Wie ihren großen Vorbildern Rush gelingt Tiles ebenso das Kunststück als zeitlich relevanter Lichtblick in einer Szene wahrgenommen zu werden, die sich oftmals die Worthülse Progressive zu Unrecht umhängt.
Publication: Prog Naut
Country Of Origin: USA
Review Date: December 2012
Reviewer: Jeff Matheus
Released in September of 2012, "Off the Floor" is the first official live album from American rockers TILES. Hailing from Detroit, Michigan, this quartet have been creating and perfecting their self-described "progressive hard rock" style since 1993, and have previously recorded for US prog labels Magna Carta and InsideOut. Being born during the grungy heyday of Nirvana, Pearl Jam and anything else with a Seattle zip code, Tiles tricky time signatures, clear, tenor vocals and epic song craft stood in stark contrast to the popular flavors of the day. But positive word-of-mouth in various prog publications, as well as an opening-act spot with Kansas, soon helped them to build-up an appreciative audience in the US. Likewise, a 1999 tour opening for Dream Theater brought them a wider exposure in front of European audiences.
I would love to say that I've followed this band from day one, but the truth is that I'd never actually heard any of their music until I found a copy of their 1997 CD "Fence the Clear" in a used CD shop about two years ago. I remembered hearing good things about Tiles from fellow prog fans, so I bought the CD on a whim, hoping for the best. After a few spins I found myself becoming a fan, and have since collected most of their other CDs.
As for sound & style, Tiles can seem pretty raw & hard-edged when compared to the more lush, symphonic, keyboard-driven bands on the current prog scene. In fact, their music is predominantly based around heavy-guitar, bass & drums, with synths used only minimally to fill out the 'wall of sound' or add the odd effect here and there. Of course, the band that Tiles has been most often compared (favorably) to is Rush. I can definitely see the reasons for those comparisons, but such overreaching "sounds like" labels rarely tell the whole story. Rush-influenced? Yes, I'll agree to that. A Rush clone? No! These four musicians have too many strengths and nuances of their own to be slagged off as clones. I think people have just grown too accustomed to generalizing in online music forums - "Magenta sounds like Yes". "I.Q. sounds like old Genesis". "Tiles sounds like Rush"....yeah, except that when you dig deeper you'll find so much more.
Now, to give a bit of recorded history, Tiles have thus far released five full-length studio albums - "Tiles" (1994), "Fence the Clear" (1997), "Presents of Mind" (1999), "Window Dressing" (2004) and "Fly Paper" (2008) - and it's those five albums, particularly "Fence the Clear" and "Fly Paper", that provide most of the 'set list' for this new live effort.
However, "Off the Floor" is not an ordinary live album. Don't expect any audience participation, screaming concertgoers or "I can't hear yous". Aside from being a clever play on the name Tiles, "Off the Floor" is actually a common recording-studio term. It literally means "capturing a song in one complete live take, without adding any overdubs or audio corrections afterwards". So, this is indeed a live album, but performed live in the controlled environment of a soundstage, with only a small (unheard) audience present to keep the band on their toes. The only other prog-rock example that comes to mind of this kind of recording is the intimate, candlelit soundstage DVD released many years back by Conspiracy (the Chris Squire/Billy Sherwood collaboration.) But Tiles performances here come off as more emotional and spontaneous than Conspiracy's did. In fact, though the liner notes warn of "a few 'jazz' notes, and even a false start", the songs sound so energetic that any such performance glitches become barely noticeable. Fans who know the band's music will notice that they also go a step beyond just re-creating the studio versions, adding in a few brief guitar/bass interludes, extended band jams and occasional arrangement 'modifications' (yeah, that was a pun just for Tiles fans, folks)
As for individual songs, there are several that stood out for me...
The raucous nine minute epic "Capture the Flag" nicely sums up what Tiles' is all about. It's a satisfying mixture of melody and muscle, aptly displaying the band's multi-faceted writing style and dexterous prog-rock chops - particularly those of the stellar rhythm section of Jeff Whittle (bass) and Mark Evans (drums). It also offers a great showcase for the clean, soaring vocals of Paul Rarick, who seems to have found an extra dose of power in these recordings.
"Dragons, Dreams & Daring Deeds" is another impressive slice of harder-edged prog- - blessed with a strong vocal melody and some beefy guitar hooks from Chris Herin. The guitar is also very much the star of "Hide In My Shadow", built around a monster opening riff that would make Alex Lifeson or Ian Crichton (Saga) proud. It also includes a very brief, unexpected turn into circus music - a "wtf" moment that only a prog fan could love!
On the slightly quieter side - the melodious & majestic "Changing the Guard" was an instant favorite when I first heard it on "Fence the Clear". But the version here is even more emotionally powerful, with the tempo slowed ever-so-slightly, as well as a guest violin spot from Matthew Parmenter of the prog band Discipline (also based out of Michigan).
But perhaps the most striking surprise is saved for last...In its original 1997 studio version, "The Wading Pool" was recorded using only an acoustic guitar and Rarick's plaintive voice. It was sort of like Tiles' "Dust in the Wind" - a simple, stripped-down acoustic piece vastly different from the type of songs they're usually known for. Here, "The Wading Pool" is completely reborn with the addition of some gorgeous melodic bass from Whittle, a guest flute spot from Keith Kaminski of the Motor City Horns, and, best of all, a dose of wonderfully "scratchy" vintage Mellotron sounds (Matthew Parmenter again). Rarick's vocals soar above it all, convincingly delivering the song's poignant lyrics. It's a beautiful re-imagining that raises the song to new heights...and makes you wonder why it wasn't recorded this way originally.
So, any criticisms?...Well, "Landscrape" seems like a strange choice to kick off the album. It's an opener so unrelentingly aggressive that first time listeners may think they've accidentally stumbled into a thrash metal album! This was my least favorite track from 2008's "Fly Paper, and I'm afraid that it holds that same distinction here. It seems to me that either "Dragons, Dreams and Daring Deeds" or "Token Pledge" would have made for a more inviting starting point. Those tracks are better representative of the "melody and muscle" approach that Tiles does so well, as well as being better showcases for Rarick's vocal range.
The CD was mixed by renowned producer Terry Brown (Rush, Gowan, IQ) and the sound quality is strong throughout - sounding particularly good through headphones. Packaging is in a triple fold-out cardboard sleeve, with liner notes by guitarist Chris Herin and cover art by Hugh Syme (Rush, Dream Theater, Queensryche) .
All in all, "Off the Floor" is a fine addition to the Tiles catalog, and serves as an unexpected gift to fans as we wait for the next studio album.
