Website: Ytsejam.Com
Reviewer: Steve Cunningham & Tony Piccoli

Review One (Steve Cunningham)
Tiles' long-awaited fourth studio release is their most sonically ambitious and most refined work to date. They don't deviate too far from the sound and style of their previous work, but the production is more layered, the melodies are a bit more developed, and the album features a few additional musicians to add extra elements to the music. There are more harmony vocals by singer Paul Rarick, and a subtle yet more prominent use of keyboards than on previous Tiles albums.

The 17-minute title track is an interesting choice to lead off the album. It gets better with every listen, but it's definitely the track that takes the longest to grow on the you. My advice to first-time listeners is to skip the first track and listen to the rest of the album first before tackling the title song.

While Window Dressing is a noble effort at the kind of entire-album-side epic style of Rush, unquestionably their main influence, Tiles' real strength is in the shorter, punchier 5-6 minute songs like Patterns, Token Pledge, and Static that were the high points of their previous albums. On Window Dressing, this again proves to be the case, succeeding with traditional riff-based Tiles songs like Remember To Forget and more easygoing but no less brilliant fare like All She Knows. The album succeeds in it's diversity, exemplified in Capture The Flag, which seamlessly transitions between some of Chris Herin's heaviest riffs and some of the best flowing melodic progressions he's ever penned, all within the same track. Matthew Parmenter adds violin to the beautiful Tear-Water Tea, not surprisingly giving a strong Kansas vibe to the track. The instrumental Stop Gap is a solid Crimson-esque interlude that also serves as a spotlight for Tiles' superb rhythm section of bassist Jeff Whittle and drummer Pat DeLeon.

This should be Tiles' most successful album of their career, retaining everything that made their previous albums work, while simultaneously taking steps in a more accessible (Paintings) and more progressive (Window Dressing) direction. They've expanded their use of atmospheric keyboard layering without drawing attention away to the guitar, bass, and drums, instead just adding that extra subtle element into the sound that raises Window Dressing above their earlier records. It was a long time coming, but it's definitely been worth the wait.

Review Two (Tony Piccoli):
After a few years break, and some quality studio time, Tiles have returned to the prog scene with their boldest statement yet. Window Dressing is their most ambitious work to date, and it has all come together very well. With the addition of many new sounds to a Tiles album, and much more elaborate song structures, Tiles have created a monster, and it was, at first, quite a bit to digest.

The album opens with the album title epic Window Dressing, which at first listen, wasn't all that I had hoped it would be, save the mellow section in the middle of the song. However, Window Dressing does get better with every listen, as I get to know the song, and all its twists and turns, everything that didn't make sense before, starts to make sense, and the song becomes better. The only rough spot for the album opener, is the vocals through-out most of the song, they just do not fit very well.

The album then goes into "classic Tiles" mode, short powerful songs, with plenty of time changes, and notes to satisfy every prog fan alike.

Capture The Flagis the next major highlight, and in my opinion, this song showcases what Tiles are capable of, and that would be strong and memorable melodies, and furious instrumental sections. Guitarist Chris Herin's work really stands out on this song, with every feel, mode and time change, Chris is right there answering back with some very clean and clever guitar work. Capture The Flag is without a doubt my favorite song of this album.

After the oh so intense, Capture The Flag we have the ballad of the album titled Tear-Water Tea. Tear-Water Tea is a flat out GREAT song. Emotional playing on every band members part, including the guest violinist, whose contributions bring out the tears for this "Tea". Where vocalist Paul Rarick fell short in the song Window Dressing, he definitely makes up for it here on Tear-Water Tea.

After a short and cool instrumental (Stop Gap) we have the very VERY beautiful piano and violin duet piece called Unicornicopia. A very nice and welcomed interlude indeed.

Another massive highlight would be the song Slippers In The Snow. This song is the finest example of how to make an "epic" song under four and a half minutes. This song sounds HUGE, and adventurous. Complete with mandolin, violin, piano and keyboards, any holes that needed filling in anywhere on this album were filled on this song.

The album closes with a "classic Tiles" type song titled Spindrift. This song is very good. Good vocal tracks, excellence guitar work, and all is fit with a nice song structure. Hugh Syme's keyboard work is also most present on this song, and its perfect.

Overall this is the best Tiles album thus far. Though im not sure how they're going to pull this music off live, with all of the keyboard, piano, violin work that's on here, I do certainly look forward to seeing Tiles live, and seeing what the rest of their future holds for them.

Overall: 10 out of 10

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Website: proGGnosis.Com
Reviewer: Unknown

With this release, Tiles has now four cds to date, and they remain true to their calling as a unique voice in progressive music. The band has been lumped into the progmetal genre for some odd reason, perhaps for their involvement with Magna Carta Records, and the fact that they have often been compared to Canada's Rush, but truth be told, Tiles' music is progrock, with some occasions towards the hard side of prog, but overall they are very pleasant on the delicate ears of those that are absolutely outside the progmetal camp.

This latest effort is finding the band continuing the refinement of their unique style, they have a sound that is distinct yet familiar. Yes the allusions to Rush are here, at least the vintage era of the Canadian band. But this would be an injustice to compare the two bands in such simplistic terms. Tiles writes songs that combine insightful lyrics, cleverly arranged music, and well orchestrated melodies to compliment the bands personna. Rarick's voice, while somewhat high registered, in no way sounds like Geddy Lee, his voice is what gives Tiles their uniqueness, I guess the more I hear of the bands' output, the less I think they really sound like Rush, there are the occasions during their music where some of the chordings and drum work are a bit reminiscent, but it's safe to say at this point, Tiles is their own thing.

Window Dressing offers some of the bands best work to date, and they start out with a first track that exceeds the 17 minute mark, I guess that means they aren't looking for radio play? I like how the band mixes moods by utilizing electric and acoustical instruments, violins, mandolins, acoustic guitars, these instruments sneak in and out of the songs providing some nice segues to and from the harder moments. I am convinced after hearing this cd, that Tiles really has nothing to do with progressive metal in any way, never do I hear metallic guitars or double bass hard drumming. What I do hear are very interesting guitar tones, and tasteful bass work, and some moments of ambiance mixed well with more intense areas that together provide an enjoyable experience of progressive music.

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Website: MuzicRevires.Com
Review Date: April 27, 2004
Reviewer: Keith Hannaleck

I have heard a lot of music this year so far and only a fraction of it has seriously impressed me. When I look at the volume of music that pours into my mailbox compared to what I review and give a high rating, well, there is not that much that I would consider writing about. I really appreciate bands like Tiles. Even though they waited 5 years to put out a new album, what you get is quality and a great album. I hope they do not wait as long between albums next time because I see a fruitful creative renaissance happening with this band. They show a lot of promise for growth and expansion by traveling to previously unexplored musical areas on a sonic masterpiece titled Window Dressing. They rock hard as usual, particularly on the incredible title track, which runs for nearly 18 minutes, although this time what you will get is a new twist of progressive-metal-rock. There are three instrumentals which show Tiles exposing other facets of their personality such as jazz-rock-fusion (Stop Gap) and classical (Unicornicopia)...letting their audience know that indeed there is more to them than indicated on previous albums. I for one really appreciate the diversity and the flexing of their musical muscles, and believe me they have plenty display.

This is an album that will stay in rotation for a quite a while before you find it necessary to change gears, it certainly worked that way for me. This band knows how to combine all the necessary elements to keep my interest in an album, they use hard and fast guitar licks with melody and hooks, standout vocal workouts, rhythm with a direction and purpose, and most of all, a tremendous curiosity to experiment with the talent they have. Lyrically they are as thought provoking as can be. Perhaps the best way to describe the premise of this album is that you hear it right from one of the band members. Here is what Chris Herrin (lead guitar) had to say about their new project:

A synopsis of the entire Window Dressing (the CD) concept: themes of "misrepresentation" - the lyrics travel a chronological path from the simplicity of youth through the complexities of relationships, communication, and cultural trends. Modern society's fixation with superficial and transient values - applauding style over substance and elevating deception to an art form and even spectator sport.

Window Dressing... a story about someone confronting and contemplating the uncertainty of knowing who to trust and what to believe. A story of disillusionment illustrated through one person's experience and thought processes. In the end it's hard not to take the position that everyone has an agenda - or ulterior motive - that takes precedence over any "lofty" ideal like honesty, integrity, or even the truth. Musically a lot to digest - but a journey we hope is not too daunting for listeners. An interesting concept to say the least, it really forces you to look at yourself and everyone around you on a daily basis, if in fact you choose to look at the reality and truth in humanity today. Wow, music that not only sounds great but also makes you think and ponder who you are and why you are here, now that is something with substance and meaning to sink your teeth into a take hold of for a while.

This is their most accomplished and polished recording to date and it will take them to the next level with their peers and fans.

Rating: 9/10

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Website: TheElectricBasement.COM
Reviewer: A. Lee Graham

Tiles wastes no time.

Seconds into its latest creation, rhythms stop, splinter and morph into multiple melodies at the drop of a dime. But that's to be expected from this Detroit foursome, quickly gaining a reputation - and deservedly so - as one of prog-rock's most promising acts.

Window Dressing thrusts the listener into the sonic vortex, spinning seemingly endless riffs and dueling melodies. Lyrics explore humanity and its role in modern society. Reconciling image and substance, art and artifice prove compelling grist for Paul Rarick's catchy phrasing. The vocalist wraps the unlikelist line around banjo, mandolin and mellotron and make it sing.

Perhaps more than anything, the title track disproves prog critics who bemoan the genre's epic song lengths. Sure, at 17:11, Window Dressing eschews brevity. But its melodic hooks sing in discrete sections, revealing new ideas as the adventure progresses. And it truly is an adventure, this musical journey through modern society.

Once again, Hugh Syme's cover art captures that vision. An innocent boy watches a mannequin through a store window. But is the female figure real? A reflection on society's misplaced values, or a vision of innocence shattered? One can only speculate.

So replete with musical riches is Window Dressing that other songs seem superfluous. That would be the case with other acts, but not Tiles. Instead of exhausting melodic possibilities, the song merely scratches the surface.

Remember To Forget layers baritone arpeggios with more great vocals. Chris Herin's guitar echoes Ty Tabor, while sidestepping the King's X musician's more traditional approach. Instead, Herin let his chords glide upon Jeff Whittle's bass and Pat DeLeon's drums, trusting that the undertow will carry his hooks to undiscovered lands. He is correct.

The same applies for All She Knows, arguably the disc's catchiest few minutes. Things get heavier with Capture The Flag. Stop-start rhythms follow a dynamic intro, with Rarick retaining his signature delivery. There's no underestimating this vocalist and the way he arranges a line, a phrase or a concept around some of the trickiest-yet-human musicianship around.

Tear-Water Tea provides some acoustic respite. Herin's gentle strumming - not to mention Matthew Parmenter's guest turn on violin - make this song glimmer and glide.

More elegant string work highlights Stop Gap, the first of three instrumentals. Violin and keyboards would seem to abhor six-string accompaniment, but Herin's echo-drenched guitar fits perfectly. As does a recurring motif in this aural appetizer.

Supplying the entree is Unicornicopia, proving that violin and piano can stand on their own. In this case, violin coaxes emotions so heartfelt that vocals would shatter the moment. The melody is that intimate.

Perhaps inevitably, Paintings breaks the spell with heavy chords and Rarick roaring back to form. Too bad it's standard Tiles - respectable for other bands, pedestrian for these guys.

Things get wordless again wtih A.02, spilling acoustic guitar across a naked canvas before Slippers In The Snow flows seamlessly into its own. Closing one's eyes as the lazy, lulling notes emerge enhances the experience. Perhaps the disc's best "headphone moment."

Between background piano and Herin's dense instrumental wall, several treasures await discovery - far too many for one listen. Ending the disc on this note would have sufficed, but one last nugget rolls into place.

That would be Spindrift. At 9:25, it clocks in at about two minutes too long, but still lingers in the ears after it fades away.

And that's the magic of Tiles. The musicians mix already inventive concepts, making the new combinations even more intriguing. Fans of Dream Theater, Enchant - even early Styx - have much to savor.

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Website: HighBias.Com
Reviewer: Michael Toland

Detroit's progressive rock standard-bearer Tiles returns from a five-year absence with Window Dressing, its most ambitious record yet. The heavy guitar sound and presence of producer Terry Brown might lead one to believe Tiles sounds a bit like Rush, and while the "bit" part is true, the quartet has its own distinctive style, with lusher melodies, a bigger emphasis on texture rather than flash and more overt prog leanings. Tear-Water Tea and the 17-minute title epic stand out on a consistently impressive platter that paves the way for a masterpiece.

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Website: FutureToPast.COM
Reviewer: Michele Hriciso

Tiles has come a long way from the last album and it's obvious from the first chord of their new album Window Dressing.

Always easy on the ear while being thought-provoking, Tiles has certainly progressed to the next level in their songwriting. Even though there are breaks between songs, the whole album flows together like a sonic river.

The overall sound is intricately woven, accented with excellent cymbal work, and makes me think that this is what Rush would sound like now if hey hadn't sold out in the '80s.

No prog album is complete without an epic, of course, and the title track clocks in at 17:11. Be warned - the first vocal passage is just a teaser. You won't hear the rest of the vocals until halfway through the song, and that just makes you want to hear more.

Tiles can certainly rock, but it is in the instrumental Unicornicopia that the band reveals its diversity. Dominated by piano and a string-quartet sound, this venture into the classical realm provides a necessary seventh-inning break from the beautifully heavy electric guitar that sets the tone for the rest of the album.

If you're looking for something new and different, Window Dressing is an album well worth looking into.

4 1/2 stars out of 5

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Website: Prog4You.COM
Reviewer: Josh Turner

Rumor has it that this house is haunted. The floorboards creak. Apparitions are seen from the corner of the eyes. While this harmless poltergeist makes its presence known, it does not succeed in completely reaching you. This is how the opening track, which is also the title track and sole epic on the album, feels to a degree. It tries to be something along the lines of Echolyn's Mei, but falls short and seems to live somewhere in the netherworld.

With that said, this album is still recommended for one simple reason. All the remaining songs follow suit like a low card that ultimately leads to a flush in poker. While the epic may leave you lost and confused, the group works well when delivering a song-oriented format and conveying lyrical content that loosely wraps a theme.

The album is littered with ingenuity. The song All She Knows is a clever ditty similar to King’s X Marsh Mellow Fields. Capture The Flag grabs hold of our attention with some great finishing riffs. If you didn’t know better, you would think Geddy Lee participated in the songwriting and bass playing. This probably explains the references to Rush this band frequently receives.

Presents of Mind is better in that it is more consistent. However, Window Dressing, the album, not the song, offers us experimentation and surprises not found there. While not as sanded down and smooth as Presents of Mind, it sometimes provides more allure with its rougher characteristics. It is judged better against its individual songs than as an album. There will be several songs that are sure to impress the listener.

Rating: 8.00 Stars

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Website: Prog4You.COM
Reviewer: Stephen Ellis

When I first put this disc to listen to it, I was immediately struck by how different it was from Tiles previous releases. So much so I went and got out Fence the Clear and Presence of Mind to make sure this was in fact the same band.

Well, it is Tiles and frankly, this CD, at least to this listener, is their best to date. The opening track, Window Dressing clocks in at just over 17 minutes and twists and turns musically much like the Millennium Falcon of Star Wars fame. Exactly what do I mean by that? Well the opening salvo hits you right square between the eyes in a very hard rock, even bordering on heavy metal way. Man oh man do they rock out for the first three minutes or so but then the song migrates into several parts where slower passages open up the story line. Each part building lowly back to a full on run. I’m reminded of a multi-gated horse who can go from a walk, to a trot, then a gallop into a full on run and back again seamlessly.

Musically, Tiles seems to be on top of their game for sure. As always, their playing is top notch but in Window Dressing they seem to have really gelled. Not that they weren’t before, but they just seem tighter.

The song writing is also more complex and just shows how much they have matured over the years. Window Dressing is their fourth release and third on InsideOutMusic. The production is crystal clear with each instrument balanced and proportionate for the desired sound.

As in the past, Window Dressing has several all instrumental tracks that really do show case the playing talents of the band. The first one is called Stop Gap. It opens with a repeating keyboard loop that interplays with the growing movement of the song. You then are treated to just a major phat groove that settles in and rolls all over you. Chris’s guitar solo [It's Jeff, not Chris, who plays guitar on this track - webmaster] is so perfect for the song and the recurring rhythm section theme just seems to tie it all together.

Stop Gap is followed by another instrumental track called Unicornicopia which is so totally beautiful it is hard to describe with words. It is all piano and violin. This is one of those songs that just eat at you. One of those songs that if heard all alone you might not tag it as part of the bands music. Much like when Silent Lucidity was such a hit for Queensryche. But for lovers of progressive rock music, it fits just perfectly and we know exactly why.

The last instrumental song is short but very sweet. It is A.02. This one lets Chris show off his acoustic guitar playing prowess including playing harmony with himself on mandolin.

Two other songs I must mention are Capture the Flag and Tear-Water Tea. Capture the Flag lyrically seems to be addressing the notion of imperialism and fervent nationalism we see in our own country and across the world. AND, it too rocks. A strong song on all counts.

Tear-Water Tea is slow and pensive. A song about those things that we cry over, a song about disappointments and the bitterness of having regrets. Again there are some wonderful violin passages and while the promo CD I received does not list players I suspect the wonderful Matthew Parmenter (who has played on past Tiles CD’s) is responsible for the heart wrenching violin on this song.

If you have liked Tiles in the past this CD will not disappoint you, for all that they were is still here however; they have raised the bar and I think that is a very good thing.

Rating: 8.00 Stars

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Website: ProgressiveWorld.NET
Reviewer: Duncan Glenday

If you’re familiar with Tiles' previous album Presents Of Mind, you’re in for a surprise because there is little in common between that album and Window Dressing. There’s hardly a jazzy note to be found here, and that tentative approach has gone forever. My good friend Steve from Tennessee introduced me to Tiles a few years back, and made this observation:

"Tiles had a really good sound and identity with Presents Of Mind, and that album should have been a solid foundation for later efforts. Instead they seem to be experimenting with their sound, and this yields mixed results in their latest effort."

Steve is one of the original Tiles fans and knows Tiles better than I do - so the new sound may not sit well with Tiles fans. On the other hand, the band may find a whole new audience. Tiles has been mislabeled as a progressive metal band - and that misconception has probably been re-enforced by their opening for Dream Theater. This album is best described as progressive-hard-rock, with some interesting diversions. It is not metal, nor is it neo, and it certainly isn’t symphonic, yet it definitely is prog.

Here’s an observation: Tiles is at their best when playing progressive, instrumental or mellow pieces. Their newly adopted hard edge doesn’t work for me. The heavier tracks have an abundance of distortion at the bottom and there’s just no room to breathe. And the excessive use of cymbals, often brought near the front in the mix, is sometimes a huge distraction.

But several tracks stand out and they alone more than justify the purchase of this CD: The album opens with the title track, a 17+minute mini-epic that needs to be heard several times before it sinks in. Think of a hard-edged version of Echolyn's Mei, with everything that is good and bad about that statement. Lots of variations and twists and turns and tempo shifts and generally well structured, yet you sometimes get the impression that melody-follows-form rather than the other way around.

Stop Gap is a short instrumental piece that builds slowly around a jaunty rhythm and its development is interesting and fun to hear. Pity it’s so short - I’d love to hear what Tiles could do with it given the luxury of time. Unincornicopia is a wonderful classically-styled piece with Chris Herin’s piano and guest artist Matthew (Discipline) Parmenter’s violin. This piece is a dramatic break from the rest of the CD and is laid back, relaxing, and very elegant. Tear-Water Tea is an appealing ballad, and is the best showcase for Paul Rarick’s vocals - which are not well represented on the rest of Window Dressing.

Aside from the title track, the songs tend to improve toward the end of the CD - and I’m setting my CD player to hit tracks 1, 5, 6, 7 and 9, which will yield half an hour of excellent prog. Someone should tell Tiles to put more emphasis on the mellower pieces.

...perhaps someone just did!

Rating: 4/5

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Website: Progression Magazine
Reviewer: Michael Popke

After 11 years Michigan progressive metal band Tiles may finally get the respect it deserves with Window Dressing, its fourth album. Opening with a 17-minute tour-de-force exploration of disillusionment in the title track, Tiles clearly has retained (but in a good way) the Dream Theater and Rush references it used so effectively on previous albums. No surprise there since Tiles employs longtime Rush producer Terry Brown.

Singer Paul Rarick's crystalline voice carries the depth of James Labrie, the sincerity of Steve Walsh, and the quirkiness of Geddy Lee; while guitarist and keyboard player Chris Herin, the band's main writer and lyricist, imbues Tiles with a savvy and contemporary sound that mixes mesmerizing arrangements with smart lyrics about real life and inner turmoil. For example, All She Knows is a drak look at youthful innocence set against an incredibly poppy melody, and the psychedelic, beautifully orchestrated Slippers in the Snow pinpoints the moment somebody passes from life into death.

Tiles rounds out Window Dressing with three instrumentals that demonstrate the band's jazzier, classical side.

14 out of 16

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Website: Brave Words and Bloody Knuckles
Reviewer: Unknown

Usually mixed only, but on this one also produced by Terry Brown, this Detroit band has been one of the few, like label mates Enchant, to evoke thoughts of Rush in the late 80's and 90's. No more (even if the band still uses Terry Brown; not to dwell too much on Rush, but the last three from them have been quite guitary, if you think about it), given the raw, crunchy, guitar-blasted nature of the new songs. Quite the change... the drums sound both fat and dry, like some sort of cool club-captured performance, and Paul Rarick's vocals are put back considerably in the mix, allowing Chris Herin's guitars to roar. No question, this is both progressive and heavy metal - progressive metal, wot a concept, eh? There are still mellow moments, but usually, textural rocking Alex Lifeson (there's that band again!) is as light as Tiles gets these days. Not crazy about the too-long opening title track (17 minutes), but much of the rest is a surprise collection of immediate riff-rocking hard rockers ground through curiously aggressive, craggy production values.

7.5 out of 10

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Magazine: Expose
Reviewer: Paul Hightower

If you dislike the more accessible side of the prog spectrum (Cairo, Rush, Enchant) then you will probably not care for this album. Those still reading, however, owe it to themselves to pick this one up. Tiles has always had the Rush thing going on and they haven't stopped yet, especially considering that the cover art and production on Window Dressing (even the title is Rush-y) were handled by Hugh Syme and Terry Brown, respectively. Paying homage to their heroes? Perhaps, though I think it's more like using Rush as a starting point and then "proggifying" it. Modern stylistic ideas, particularly in Chris Herin's guitar, find their way into the songs, though for the most part the album offers dynamic, melodic prog rock with the occasional time out for some acoustics. Two epics bookmark the album, offering multiple thematic ideas, moods, and sonic textures, though for my money the shorter of the two, Spindrift, is superior, exhibiting angularity and adventurousness that echoes "Natural Science." All She Knows and Slippers In The Snow would have fit right into "Roll The Bones" and makes me wonder if producer Brown is sending subtle jab at his former clients. A series of songs also feature Matthew Parmenter of Discipline doing a damn fine job on violin. These include the acoustic Tear-Water Tea, the fusion-y instrumental "Stop Gap," and the airy "Unicornicopia." Departures of this nature are exactly why Tiles should be credited for their creativity in specific and why this album succeeds in general.
Magazine: HM Magazine
Reviewer: Matt Morrow

NOTE: This review can be also found here.

If I'm honest with you, I'd tell you that I'm very unfamilar with Tiles. This is their fourth album, and although I'd heard their name before, I really couldn't have told you what they sounded like. I think I had heard one song by them a few years back, but I don't have any idea if I even liked it or not.

Enter Window Dressing. The version I have is a special edition that has the main CD, plus a bonus live CD that is a bootleg concert when they were supporting Dream Theater a few back. The sound quality is actually pretty decent on the live disc, and it give those of us that aren't familar with Tiles a peek into their music before this new disc Window Dressing.

This new album was mixed by Terry Brown (Rush, Cutting Crew, Fates Warning), and you can definitely hear the Rush influence. I also hear a little bit of Dream Theater and King's X (especially in some of the crunchy guitar parts) influence at times. Overall, Tiles plays a great blend of progressive rock with some hard rock tendencies. Not to mention that these guys are fabulous musicians.

The album opens with the long, 17 minute title track. Not so sure this was the best of moves. The song is very good, but it has a few lulls that make me itchy to hit the skip button. I guess it's the progressive metalhead in me that finds it hard to swallow all the slow meandering that progressive rock bands tend to get into. The song goes through many changes along the way and actually grows on you after numerous listens...that is if you can stay with it that long. They often switch from hard rock to soft acoustic with long instrumental passages. The lyrics are actually VERY good on this song. It basically speaks about how what we see is not always actually true reality. Here's an example: "Faces I see/Tell little about/What to believe/Layers of window dressing/Barely hint at what's beneath/Covered up like paint on rust/Who to trust?"

Remember To Forget follows the opener and reverts to a more consistent hard rock sound. This song along with the next song All She Knows show the biggest King's X influences on the album. Remember To Forget, as well as some of the other songs on this disc, have some fantastic vocal harmonies. This tune also has some great lyrical lines about forgetting the past: "Walk the slippery slope of the past/I choose to dress up my burden/Call it salvation as it drags me down/...Shackles rust as I release the past/Free from bitterness/Without looking back I can/Remember to forget."

The next song Capture The Flag has a great headbanging start to it, before settling into the rest of the song. It includes a prettily sung chorus, but it often reverts back to the heavier at times. The band makes great use of acoustic guitars in this song along with most of the others on the disc. They also do a really cool "speedy" vocal part for about 6 lines near the end of the song.

The next song Tear-Water Tea slows things down abit with a jangly guitar and violin track with a very nice vocal performance. Again great lyrics..."Words that wound and love that kills/Can't see the forest/For the trees distract our view/Answers written in a book ignored/Empty boats to captain through the storms/Expectation that beckon through a prison door." The song ends with: "Simple and pure/Silent recourse/Cleansing remorse reveals/Silver lining that shines in the tin/At peace with truth."

This entire album is very impressive lyrically. Not just because of the topics they address, but the beautiful and poetic way that they address them. They are worth reading even if you don't enjoy this style of music.

There are three instrumentals on this disc. Two that stand out are the breathtaking acoustic A.02 and Unicornicopia. The latter is a very mellow and moving track of mainly piano and violin. It sounds like it came straight from a movie around the World War II/Holocaust-era. It convey's sadness, but with a hint of hope in the delicate playing of the keys.

But don't go to sleep, Paintings is next and it picks up the heaviness and sees the band probably delivering my favorite song on the disc. More great lyrics abound here in the chorus: "I'm a fixture in time and space/As our old promises fade/Like the painting we see everyday/That hang in decay/So the familiar feeds neglect/Simply too plain to perceive/Color drains from the scenery/When routine courts apathy."

Picking best songs is tough, but I'd have to go with the band's more aggressive stuff. Songs like Paintings, Spindrift, and Capture The Flag are all excellent tunes. But then the haunting and somber Slippers In The Snow also begs for a vote. Honestly, there is no bad song on this album.

The design and artwork for the album was done by Hugh Syme (Aerosmith, Rush, Megadeth). The packaging is actually very wonderfully done and very high quality. The limited edition that I have even has a glossy cardboard cover that slips over the jewel case that includes the identical artwork as on the front and back of the jewel case artwork. My only complaint would be that the front cover has a little kid looking in the window of a clothing store, only to see a women putting on a pair of shorts with only her undergarments on. And on the inside cover that same women is taking off her shirt with part of her bra showing. I understand the analogy with window dressing, but I could've done without the risqué photos.

Overall though, this band has made me an instant fan. I've never cared for progressive rock too much, but I think I'll stop and take a closer listen in the future. I highly recommend this to fans of the bands I mentioned above (Rush, King's X, Dream Theater) along with fans of bands like Torman Maxt and Shadow Gallery. This is definitely not an album to casually listen once and form your opinion. It takes multiple, open-minded listens to let it sink into your mind. The reward for your patience is an album that you'll be going back to often.

Rating: 9 out of 10

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Magazine: Blistering.COM
Reviewer: Justin Donnelly

It’s been a while since Detroit (Michigan) four piece progressive act Tiles (Who consist of vocalist Paul Rarick, guitarist Chris Herin, bassist Jeff Whittle and drummer Pat DeLeon) has been heard from.

Earlier in the year Inside Out Music released special remastered editions of their self titled debut (1994), Fence The Clear (1997) and Presents Of Mind (1999), but apart from the live album Presence In Europe 1999 in 2000 (Recorded while supporting Dream Theater), little else has been heard from the group.

But finally, after a five year wait, Tiles are back with their fourth studio album Window Dressing, and again proves that the band are sadly overlooked within the progressive genre.

Not one to bow to popular style, Tiles aim for the unconventional by opening up the album with the epic seventeen minute title track, and their heaviest number to date.

Split into four movements, the band have opted to turn up the guitars for a far grittier sound than their previous efforts, and while the songs has plenty of structure, there’s plenty of changes/improvisation within the number that reveal more than just the one number mentioned. Having said that, it’s around the three quarter that the song seems to come to a natural conclusion with the acoustic tail end, but the band reprise the start once more, giving a tacked on kind of feel.

Remember To Forget is a little more straightforward sounding, while All She Knows has a distinct Rush sound and vibe of old (It’s not the first time the comparison has come up for this band) but still maintains a sound that is theirs.

Canadian solo guitarist Kim Mitchell helps out on the stunning (and heavy sounding) Capture The Flag, with Paintings continuing the heavy sound, while the gentle acoustic based Tear-Water Tea is given a special touch from guest violinist Matthew Parmenter along with a fantastic performance from Rarick.

As with most of Tiles’ releases, there are a few instrumentals that allow the three musicians to show their talents. The first is the melodic Stop Gap, followed by the solo piano number Unicornicopia, with the short acoustic A.02 being the third.

Rarick seems to falter a little in the ballad like Slippers In The Snow (Which also boasts legendary cover artwork artist Hugh Syme on keyboards), but things are made up in the Rush sounding closer Spindrift.

Terry Brown (who produced, engineered, and mixed the album) has ensured Tiles have produced their best work to date in Window Dressing, and while it’s unlikely to break the group into prominence (They're close, but still have some way to go yet to match the genre leading acts), it will please those in the know to no end.

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Magazine: Transcending The Mundane
Reviewer: Brett VanPut

It's been awhile but Michigan progressive rockers Tiles finally return with their fourth album, Window Dressing. After dealing with the artist friendly InsideOut. During the nineties, Tiles developed a stellar reputation over the course of three albums; Tiles, Fence The Clear, and Presents Of Mind. They worked with the highly talented producer Terry Brown (Fates Warning, Rush) and artist Hugh Syme (Megadeth, Rush). Five years have passed since Presents Of Mind, but Tiles remains the same.

Window Dressing kicks off with the nearly twenty minute title track. It's an adventurous tune but close to its completion Window Dressing gets heavy and more interesting. Remember To Forget is as heavy as anything they've done before. Tiles get progressive during the middle of the album. Cello adds an exotic flair to Tear Water Tea. Stop Gap is a short but creative instrumental. Slippers In The Snow goes back to Tiles mellow vibe and ten minute closer Spindrift is quintessential Tiles but with very repetitive guitar. The one surprise is Paintings where vocalist Paul Rarick actually sounds a lot like Smashing Pumpkins' Billy Corgan, believe it or not. Tiles are still very reminiscent of Rush. There's three instrumentals, three epics, and five song oriented tunes to balance the album.

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Magazine: The Metal Observer
Reviewer: Joe Florez

Detroit, Michigan is mostly noted for being considered the murder capital, Motown, The Motor City, INSANE CLOWN POSSE and EMINEM, but now you can add TILES to the list. TILES has been in the circuit for just over ten years and are now getting somewhat of a bigger exposure thanks to being on the InsideOut label. Their fourth offering should hopefully get the band noticed around the world thanks to better distribution.

The seventeen-minute opening title track is a bit long, but is filled with varying compositions, hard driving riffs and contain a touch of class act drumming. The track overall is mid paced and mellow. There are no over the top performances and that is a good thing. The track is rather laid back even though there are the rough guitar riffs at times. You can expect several breakdowns due to the length of the tune. After thirteen-minutes of being melodic, things kick in for a moment or two when the everything goes into a frenzy. The drums get louder, harder and more complex and the guitars have more force behind them making them more aggressive than elegant. This is a decent opener if you can hang in there long enough.

Remember To Forget is two-thirds less than the opening track and is a bit more up beat. The track has a great guitar solo and everything else is packed with a bit more power, but playing with a laid back approach. This is a heavier track, but quite entertaining. You can call Tear-Water Tea a ballad of sorts with some sorrowful violin playing which sounds so sad. I am not quite sure why, but that's the impression that I get when I listen to it. I think the band shows off their fine musicianship on the first of three instrumentals. Stop-Gap mixes a bit of 70's Prog along with more fine guitar playing and superb drumming and smidges of Jazz thrown in there for good measure. The second instrumental that follows Stop-Gap is Unicornicopia. This one is more classical in terms of sound because it's just a piano with the violin dropping in for a split second.

Things finally come to a close with another long track in the form of Spindrift. It's heavy, Progressive and melodic just like their other songs. I think this will appeal to fans of SPOCK'S BEARD, THE TANGENT and all that is calm and peaceful. I suggest listening to this one in small doses.

Score: 6 out of 10

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Magazine: Alt.Culture.Guide CD
Reviewer: Tommy Hash

It has been nearly five years since Detroit prog-metal quartet Tiles released its third record, 1999's Presents Of Mind, a record that not only raised Tiles above cult band status but also helped end the confusing '90s rock scene on a good note (and the wait was worth it).

Now in 2004, having been brought to the masses through a tour opening for Dream Theater and a new deal with InsideOut Records, Tiles still brings a fresh sound to the table, rather than many of the consistent Dream Theater clones flooding the market. Although a quartet, Tiles has always had sort of a power-trio sound to them, leaving lots of room for simple jam sessions and note-for-note syncopation, keeping any overtly slick instrumentation layering aside where the music speaks for itself.

Produced by famed producer Terry Brown (Rush, Fates Warning), Window Dressing opens up with the extended title cut. It's fairly odd to begin the record like this. The song's dark, mood-driven sound is filled not only with the driving guitars that are the core element of Tiles sound, but also with atmospheric Mellotrons and acoustic guitars complimenting vocalist Paul Rarick's alto, creating a series of sub-dark songs that together create an opus. Taking a turn towards more typical songs, especially with Tiles' signature hard-driven cuts like Remember To Forget, Paintings and Spindrift, which are some of the heaviest moments on Window Dressing. It is songs like the dark acoustic Tear-Water Tea, the piano interlude of Unicornicopia, the emotional Slippers In The Snow and the jam session on Stop Gap that show Window Dressing bringing new elements from Tiles to the table.

Window Dressing itself leans more towards the technical than previous Tiles records, showcasing an evolution in the band, using more keyboards (without going overboard), adding occasional violins and taking a more of a polished approach to their sound while keeping their signature stance intact, being easily met with open arms.

If you are lucky enough to get your hands on the special edition of Window Dressing it contains a eight-track bonus disc from their tour with Dream Theater where they perform early material, again proving that they are one tight band. Their sound could easily be compared to the technicality of Rush, the progressive grandeur and heaviness of Dream Theater and the driving structure of King's X, blending these influences to create the sound known as Tiles.

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Magazine: Metal Storm
Reviewer: Malcolm

There is always bands that slipping past our eyes and minds and that we never ever going to hear. And I'm sure Tiles would be such a band for me. Because I would never believe that this should be anything for me, never. But guess what, I was wrong, this is really something, maybe even for you and I.

Tiles was formed back in 1993 by guitarist Chris Herin, and contains today, except Chris also Paul Rarick (Vocals), Jeff Whittle (Bass) and Pat DeLeon (Drums). They released their first album in 1994, simply entitled Tiles. It became a huge success, and magazines were fighting each other with new superlatives about the new and talent band. And in 1997 the successor came, Fence The Clear didn't get the same attention as the debut, but it sold well, precisely as the third album, Presents Of Mind from 1999. In 1999 Tiles also went on a big European tour together with their compatriots Dream Theater, which also was immortalized with a Live release, Presence In Europe 1999 was released the year after.

And now it's then time for the fourth album to see the light of day, Window Dressing is the name.

First of all, before getting any longer, I have to price the cover art and the artist that made it, Hugh Syme. Because it's not only original, it's also damn fine, or at least the lady in the window is. There, now was that said.

The album doesn't start slow or easy, the starter is the title track and is clocked at 17:11, and that's not so usual today, and that's a good song, don't ruin anything. The progressive part is doing much in this, but how would a band other make a 17 min long good epic song? And the starter together with two other, early tracks is also the best you'll get from this album. Tiles have chosen to place the best songs in the beginning, I don't know it that's so good, but it's their choice.

To find some band that Tiles have some similarities to, I'll say Rush. I haven't heard much Rush, not much at all, but what heard is quite alike this, even if Tiles isn't any copycats. They have found their own way to walk, beside and together with their bigger fellows.

Production is good, but not perfect, I can hear some smaller things to complain on, but it's not anything that ruins listening experience. And the singer is a real jewel, his job on, for example Capture The Flag, is world class, and his voice is very original. And I find this album perfect for days like we have here now, soft and sunny days with Tiles, can't be better, I assure you.

Overall, Tiles have succeed to make a really interesting album that I don't think fans of their other three albums will be disappointed with (if so, I really want to hear them, because they then will surely rock the shit out of me) and it might gain one or another new fan too, but overall I think it's mostly fans of this kind of music that will buy this album.

Favourite Songs: Window Dressing, Capture The Flag & Tear-Water Tea gets my votes, very good songs.

Score: 8.5 out of 10

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Magazine: eSpudd.COM
Reviewer: Unknown

What really surprises me about Tiles is their knack for creating what seems to be complicated music, yet pass it off as if it's another day in the park. I don't mean that their progressive style is filled with faster than light technical solos and riffs that you can't begin to hear or comprehend, no, Tiles has a very layered and somber tone that initially masks the depth of their prog writing abilities. Once you've gotten used to this slower and more melancholy prog (akin to Deadsoul Tribe), you can really start to peel back the layers one by one. You'll sit in admiration as you go further and further into their music without an ending in sight. The opening 17-minute track is only the beginning of what Window Dressing will offer you.

There is one outstanding feature on this album and that is the warm and fuzzy familiar feeling of Rush. Tiles were fortunate enough to have Terry Brown produce, engineer, and mix their album. Terry is well know for his production efforts with Rush, and give Tiles an extra edge with a few of their Rush sounding pieces while maintaining their own originality.

Window Dressing is a nice slower moving prog album that like I said earlier is very layered and well thought out. Smartly thought out in fact. The instrumentals are very moving and justly exemplify their love and respect for music. Tiles present a very strong progressive album, but may not be suited for those fans of the more metal side of progressive music. Do I recommend this to the serious prog snobs out there? Yes I do, just don't expect it to jump out and grab you.

Score: 3.5 out of 5

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Magazine: Prog-Nose.ORG
Reviewer: Danny

This fourth Tiles album comes five years after their last achievement Presents Of Mind. And they changed quite a lot since that period. They started of as a more AOR oriented band. Presents Of Mind took them in the soft progmetal direction and the new album sounds a lot heavier but can still be catalogued as progmetal. The album was mixed by Terry Brown (Rush, IQ, Fates Warning) and the artwork was designed by Hugh Syme (Arena, Megadeth, Rush), who also plays some keyboards on Slippers In The Snow.

It takes a lot of courage to open your album with the longest, most complex and most difficult track or should I rather consider it a bad move? It's not easy to digest this first track when you hear this CD for the first time. But if you keep on listening to it, it grows into a great epic. As often, persistence pays off.

Window Dressing has 4 different parts. It opens with a heavy riff, changes into a quiet electric melodic piece with a complex rhythm, goes back to a heavier vocal part and ends with an acoustic quiet passage. Well, in my opinion it should have ended here, because it felt like the end, but they preferred to return to the first part again. But that doesn't change the fact that this is a great epic 17 minutes progmetal track.

Remember To Forget or All She Knows would have been better album openers. They are a lot easier to get into. The first contains a very catchy guitar riff and the other has a great vocal line. The line "eyes that sparkle" echoes through your head for a long time. Paul is a great vocalist. He sounds a bit like Geddy Lee in the higher regions. The whole band often sounds a bit like Rush, undoubtedly partly due to the mixing of Terry Brown. Capture The Flag is a perfect example of this Rush sound, without losing their own identity, they got after four albums. Tear-Water Tea, an acoustic ballad with some brilliant violin playing, is a good recipe for a special drink. Beautiful vocals.

As on their previous album, they present some short instrumentals: Stop Gap, a chaotic jazzy track, Unicornicopia, a classical oriented piano and violin piece (although it's constantly disturbed by strange noises) and A.02 a short acoustic guitar piece. These tracks add up to the already omnipresent variation on the album. Spindrift is the heaviest track. It doesn't really fit in with the rest of the tracks, although it contains the best (too short) guitar solo of the album. I like this album a lot but I prefer their previous album that contained some softer progmetal. Of course, this opinion can change in time, as I had 5 years to get into Presents Of Mind. The special edition comes with a bonus live CD from the support-tour they did in 1999 for Dream Theater. You can also buy special editions of their first three albums.

Score: 8.5 out of 10

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Magazine: Dutch Progressive Rock Pages

Review One: Andy
Founded by guitarist Chris Herin just over a decade ago, Detroit-based Tiles fairly sprinted onto the progressive rock scene in 1994 when their self-titled debut won outstanding reviews across the board. The disc was a superb slice of hard-edged, melodic, progressive rock with brains. Hopes were high that this quartet would be the natural replacements for Canadian Prog titans Rush - to whom their music owed more than a passing nod of respect.

Sadly, whilst fairly respectable efforts, the two albums that followed - Fence The Clear and Presents Of Mind - failed to build on the impact of the debut and the opportunity for following in their idols' footsteps was lost. Even more sadly, Window Dressing is a further step backwards.

When I listen to albums, I tend to scribble a few words by each track to jog my memory when I write a review. The word Rush appears next to almost every track on this album.

As opposed to taking inspiration from the Canadian progmeisters, Window Dressing merely plagiarises. Clocking in at a weighty 17 minutes the opening track does add a certain Led Zep vibe to the mix, as does the next with a riff that bears a remarkable resemblance to Black Dog. However the bass of Jeff Whittle and the guitar of Chris Herin echoes that Lee and Lifeson, while the voice of Paul Rarick...well, it isn't as strong as it used to be. The third track is just a tribute band version of New World Man.

To reinforce the point, the whole thing is produced by Terry Brown - whose creditable list of credits includes...you've guessed it - Rush.

I've got tickets for two Rush concerts in September - that's what I call a 'real' night on the Tiles! I do rather like the album cover though.

6 out of 10

Review Two: Ed Sander
I was really looking forward to this album. One would think that five years after the release of their impressive Presents Of Mind album the band would have had enough time to come up with a masterpiece. Unfortunately, as it turns out, Window Dressing never reaches the same level of quality as its predecessor.

Whereas most bands save the big epic for last, Tiles open their new album with the 17 minute title track. It does contain a couple of very interesting instrumental sections and good riffs but the vocal sections don't do anything for me at all. As with most of the rest of the album the vocal melody seems to be quite unrelated to the other things that go on in the songs, as if you're listening to two different songs at the same time. Also, the band quickly falls victim to the obvious danger of repetition.

Other people have commented on this album in terms of 'the Rush influence has turned into blatant plagiarism'. Personally I can't really judge if this is true or not since I've never been into Rush and therefore have little knowledge of that band. It is however a frequently heard complaint and interestingly enough, the album was produced by Terry Brown of Rush and IQ fame.

My own biggest complaint would be that the melodic strength of the wonderful Presents Of Mind album is fully missing on this album. None of the songs grab my attention or contain any lasting melodic hooks in the vocals that stick in my mind. Instrumentally there's quite a few good moments on the album, so there definitely was potential for a good CD. As a matter of fact I find myself wishing Paul Rarick would just shut up for an hour. His voice is not one which has a wide range or a lot of different styles and quickly turns into the same dissonant scream for most of the album.

Another complaint would be that whereas the music on Presents Of Mindhad a lot of 'space' the sound on this new album is very much 'in your face' and thereby overwhelming and (for me) tiring. Especially the bass-guitar combination is 'massive', and that's not meant in a positive way.

Now, so far this could all be considered a 'matter of taste', but when we arrive at the middle of the album we find something that can only be described as below par album fillers. The three instrumentals Stop Gap, Unicornicopia and A.02 are just plain rubbish. The first contains the worst violin solo I have ever heard. Unicornicopia is a piano-violin duet which feels really out of place between the noisy rest of the songs on this album, not to mention that it just seems to go on forever. A.02 is a throw away one minute guitar intermezzo that doesn't seem to have a real purpose either. Strange really, when I'm at times wishing the album could be fully instrumental that the actual instrumental tracks are some of the worst on the album. Also, artwork and a keyboard appearance by Hugh Syme cannot help this album from being a really disappointing follow-up to a fine CD.

6 out of 10

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Magazine: In Depth 'Zine
Reviewer: Anthony Pagano

Whoever thought progmetal was only a Scandanavian/European thing has NOT heard Tiles before! Tiles from the motor city of Detroit, MI is comprised of Pat DeLeon (drums), Chris Herin (guitar), Paul Rarick (vocals), and Jeff Whittle (bass). Their latest effort Window Dressing is best described as an opus of sorts! The title and opening track itself could have been it's OWN album clocking in at 17+ minutes with more changes in it than KISS has had band members! Remember To Forget as well as having a cool title, is LOADED with some great riffs and a solid vocal performance from Rarick. All She Knows brings an upbeat vibe into the mix along with some well placed keys by guest musician Hugh Syme. Capture The Flag goes for the more hard rock approach while Tear-Water Tea goes pretty much all acoustic and ads some strings highlights. Stop Gap throws a jazz kind of twist on a smooth prog instrumental track on it's way to the piano and strings duet of Unicornicopia. Always keeping you on your toes, Tiles moves back to a harder edge with Paintings. A.02 goes all acoustic guitar for just under 2 minutes before sliding into Slippers In The Snow. Spindrift not nearly as long as the opening track, twists just as much as Window Dressing but without the edge. Overall Tiles does a great job keeping your attention. There are some really slow and soft parts but they are followed buy loud and in-your-face style tracks to keep the balance. The musicianship is over the top on this one! If you are looking for something with that prog flavor but with a unique twist then try Tiles on for size!

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Magazine: RockReport
Reviewer: CL

Progressive rock band Tiles was founded by guitar player Chris Herin back in 1993 and from the beginning they made quite an impression on the fans and the press alike. Their critically acclaimed self-titled debut album (1994) was slowly followed by Fence The Clear (1997) and Presents Of Mind (1999), both consolidating their status as one of the better progbands from over the ocean.

As always the cover artwork of a Tiles album is the first thing that catches the eye. This time a kid is looking into the display window of a textile (texTiles) shop how a female model is (un)dressing. On the back you can look through a barred window and notice a group of naked people inside the building. It’s obvious that a lot of thinking had been done before artwork like this was created. But then again, Hugh Syme is not just anybody!

But the same can be said of the song material on offer. Five years have passed since the release of the last album and as a result my expectations ran quite high. To be honest, when I first listened to this long-awaited album, I was a bit disappointed. But Window Dressing surely is a grower, that is still getting better whenever I take time to listen to it.

However, I don’t think it was a wise idea to start the album with the longest track. With a playing time in excess of 17 minutes, the title track Window Dressing once again reminds me of Rush, the Canadian trio that is generally known as their shining example.

It’s a difficult track to start with and I can imagine that lots of people will be deterred to go on with the rest of the album. Following that opener come another ten, more familiar sounding tracks, varying in playing time from 1:14 (the instrumental A.02) to 9:25 (the album closer Spindrift). Responsible for the typical sound of Tiles is once again producer Terry Brown, a man who meanwhile knows how a band like Tiles should sound. With 3 long tracks, 5 ‘normal’ tracks (in length) and 3 instrumentals, you get a good and varied album, but it’s one that asks for a lot of effort from the listener.

Rating: 4 out of 6

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Magazine: The Phantom Tollbooth
Reviewer: Brian A. Smith

It is fitting that Window Dressing is the title track for Detroit prog rockers Tiles' fourth release: the leadoff track clocks in at over seventeen minutes, and comprises over one fourth of the album. It is in itself a miniature rock opera that could stand on its own as an EP. Chris Herrin's guitar falls into the King's X/Dream Theater range, while Paul Rarick's vocals are more in line with Yogi or Gary Cherone (Extreme, Van Halen).

As with most prog bands, some elements of Kansas can be heard, especially during Tear-Water Tea, which actually uses a violin. Instrumental tracks Stop Gap, Unicornicopia, and A.02 are tight, well-done, solid pieces that never become boring or repetitive.

Like King's X, Tiles seems destined to become one of those bands that has a loyal cult following, is huge in Europe, and is endorsed by other artists. Ian Anderson (Jethro Tull) and Mike Portnoy (Dream Theater) have both offered high praise regarding them, and they have received rave reviews in Norway, The Netherlands, and Germany.

Window Dressing is an excellent example of a progressive rock album with a more aggressive edge to it, and demonstrates the modern blurring of genres of music, yet not neglecting either style. Lyrically, it becomes apparent that the music does not fall into the range of the album's title: they are a commentary on life's events, and will throw you a few twists when you think you know where the are going. Inside Out has also repackaged Tiles' first three discs - I have the distinct feeling I'll be checking them out soon.

Rating: 4 out of 5

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Magazine: MetalReview.COM
Reviewer: Ian Dreilinger

At their better moments, Tiles is a throw back to early era Rush power prog; not excessively showy in scope or musicianship but fun to listen to and more musically competent than your average hard rock band. I’d even go so far as to say that they write some fairly compelling, if somewhat generic, music a good portion of the time. This isn’t by any means a breathtaking album, and as far as prog rock goes, it’s hardly what I’d call forward thinking, but there are few complaints either. Basically, Tiles has struck me as a band without a very distinguishable identity. There aren’t any fresh ideas on Window Dressing, and when they do try to be a bit daring with the excessively long opening title track, they fall flat. But, on the flipside, the rest of the album is a lot of fun to listen to since they don’t give themselves time to lose focus or meander.

Window Dressing begins rather badly, and that was enough to keep me from giving the album much of a chance at first. The first song, entitled Window Dressing, and over 17 minutes long, is a clumsy and disjointed affair. It seems like they wrote three or four songs, stuck them together and tried to throw in a common melody here and there. There’s no reason for the song to be so long and it becomes a chore to get through. That’s rather unfortunate because there are several really nice ideas contained within that are just showcased in such an awkward way that they aren’t really worth the listen. When I first got this album I listened to the first song once and was so bored by it that I didn’t give the rest a chance. Luckily, I finally managed to throw it back on because it needed a review, and I was definitely pleasantly surprised by the rest.

With the first song taking up a quarter of the album, there’s still a good fifty minutes afterwards containing ten shorter and much better songs. The second track, Remember To Forget, is probably the album's best. It’s catchy and well written with enough diversity to stay interesting and yet enough cohesion to keep it from ending up in the same territory as the first. Capture The Flag proves that Tiles can write a somewhat lengthy song and keep focused, as it lasts for nine minutes and remains a pleasant listen the entire time. There are a few softer songs that follow, and a classically oriented instrumental song that keep the album from being monotonous, since many of the harder songs aren’t too different from each other. The nine and a half minute closer is a further exercise in focused songwriting and ends Window Dressing far better than it began.

To their credit, their musicianship and production are both nice. There’s not much dazzling wankery ala Dream Theater, but that’s not really so bad, because that kind of progressive rock gets pretty damn pompous and tiresome. Tiles does use a number of odd time signatures and occasional intricate guitar work. The musicianship is more impressive in that the band members are very well coordinated with each other than in masturbatory soloing. Window Dressing is produced a lot more like a hard rock album than a prog rock album, and it works pretty well the majority of the time. The guitars are kind of crunchy, the bass muted and the drums extremely average sounding. I think musically and production-wise, I’d say that Tiles are somewhat similar to Freak Kitchen, though Freak Kitchen is far more charismatic, original, and entertaining.

Overall, this isn’t at all a bad album despite its not so great beginning. It does, however, embody all that’s wrong with so-called progressive music today. There’s just nothing progressive about it at all. I’d take Freak Kitchen over these guys any day, or, really, any of a number of run-of-the-mill prog rock bands similar to Tiles, but if you’re an absolute enthusiast of the genre and can’t live without one more album of the same old stuff, Window Dressing will make a pleasant addition to your collection. Just don’t expect anything even remotely challenging.

Rating: 4.5 out of 6

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Magazine: ProgNaut.COM
Reviewer: Ron Fuchs

Tiles waited 5 years to put out their new album, Window Dressing on May 25th, 2004. Although I haven't heard their earlier material, I can go from what others said that Tiles is or rather was a Rush influenced band. On Window Dressing, they seem to go beyond that reference to some growth especially with a guest violinist named Matthew Parameter (vocalist & keyboardist of Discipline). Although I've heard better things from the InsideOut roster, I wouldn't say this is bad. The music especially on the title track comes off as a partially structured instrumentation that seems like 3 songs pasted together to get the "epic". To me, to have a epic on an album isn't a rule for any of the progressive music genres. I can say most fans would just rather have a good structured, flowing song regardless of length. They especially defy that Rush stigma with a jazz-rock-fusion induced Stop Gap and classical Unicornicopia, which goes to show that they believe in what progressive means.

According to sources, Window Dressing is a story about someone confronting and contemplating the uncertainty of knowing who to trust and what to believe. A story of disillusionment illustrated through one person's experience and thought processes. It really is a universal subject that some of us have or will have encountered in some point in our lives. The lyrics don't go too deep in this subject but enough to get their point across.

From reading about Tiles and hearing this CD, I think the best is yet to come from the band, I just hope they don't stray too far from the progressive side of the fence. If you're into the Rush influenced bands or similar, then Tiles' Window Dressing should be on your "to get' list". In fact on Tiles' website, there's a 2 disc version available with some extras.

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Magazine: PunkRockTheory.COM
Reviewer: Mike SOS

Tiles is a progressive rock band that lays the grooves down like a cross between King's X and Fates Warning, making this Michigan quartet's latest 11-track endeavor a bit more palatable for those who lack attention spans. Mixing hard rock melodies into the technical musicianship, Tiles incorporate a slew of '70s era Rush tactics into its prog metal flexings, right down to the churning guitars and falsetto vocals. Armed with three instrumentals and three songs well over the five-minute mark, Tiles are out to make a mark in your subconscious. With songs like the nylon-string acoustic instrumental A.02 and the majestic metal might of Capture The Flag, this throwback rock outfit has all of the chops and credentials to appease rock fans that crave the more elaborate end of the spectrum.

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Magazine: Quintessence Metal Web
Reviewer: Unknown

Tiles is one of those great veteran bands that somehow goes by unnoticed with the exception of diehard underground fans and people who eat music for a living. King's X was like that after a few years once they left Megaforce for another example and they themselves have at least 10 albums out. Even the great Ian Anderson of Jethro Tull highly regards this band with positive comments.

Window Dressing is Tiles' fourth release to date following-up Presents Of Mind on Magna Carta and was produced by the well-known Rush guru Terry Brown (Fates Warning also). 11 tracks with three of these being instrumentals. The title track is an impresive 17+ minute deluge that is well-written and takes on different aspects of songwriting (kind of like 5 songs in one without breaking it into parts like Rush did on some of their songs). Rush, Dream Theater, Fates Warning and King's X fans will appreciate a band like Tiles. Plenty of melodies, intricate songwriting and some dark progression throughout the whole album; never a dull moment.

The first three Tiles have been reissued and remastered with bonus tracks for those already fans of the band. They definately prove the "Motor City" is still thriving.

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Magazine: 1340mag.COM
Reviewer: Jeff Holton

In 1993 this progressive hard rock band from Detroit, Michigan formed and they have spent the past 10 years developing making their mark in the music scene. In their decade of music they have gained international recognition with the release of three successful CD’s that were met with much praise in Europe and were chosen to be supporting act for Dream Theater on their 1999 European tour. Window Dressing is the bands fourth CD release and is released on InsideOut Music. I can honestly say that I had never heard of Tiles before this CD and I am very glad that I have been introduced to this up and coming progressive hard rock band that is bound to get some recognition in the states.

The CD revolves around the opening 17 minute title track which, according to the band, is the “concept that there is always ‘more (or less) than meets the eye in any encounter.’” Musically, this is a hard rock CD with some complex arrangements and catchy songs that are pleasant to listen to and flow nicely. 1340mag editor Mark Fisher says, “Tiles sounds a lot like Rush” and I would agree with him. After a few listens I heard vocalist Paul Rarick sounds very much like Geddy Lee and some of the music is similar to the recent music of Rush, especially in the song All She Knows.

Tiles pulled no punches to create a CD that is great in all aspects (production, musically and CD design) as they had Terry Brown (Rush) produce, mix and engineer Window Dressing. Brown gives the CD a pristine sound that will definitely turn some heads in the prog scene. The CD also features special appearances by classic rock legend Kim Mitchell on Capture The Flag and the CD cover “artwork of award winning artist” Hugh Syme (Aerosmith, Megadeth, Queensryche, Fates Warning, Iron Maiden and Rush).

Window Dressings is a great CD! If you consider yourself to be a fan of any style of progressive rock, namely Rush and Fates Warning, then Tiles is a band you should check out! The future is looking bright for this band!

Key Song: All She Knows

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Magazine: SeaOfTranquility.ORG
Reviewer: Elias Granillo

The fourth album by Tiles comes half a decade after Presents Of Mind with many a Rushism firmly intact. In addition, producer Terry Brown — the former “fourth member of Rush” who has also worked with Voivod and Fates Warning — was tapped to lend his magic touch, and the one and only Hugh Syme provided another memorable cover design to add to his repertoire. Many a Tiles fans will perceive the curiously-titled Window Dressing to be the group’s best and most original-sounding effort to date, with many exciting moments. The star of the quartet continues to be founding member Chris Herin, whose lead guitar prowess and proficiency on additional instruments are the proverbial bedrock of the compositions. This is not to short-change drummer Pat DeLeon & bassist Jeff Whittle; the rhythm section isn’t quite up to Lee/Peart snuff, but both men are seasoned players who make all the right moves as official groove support. Paul Rarick has a fine singing voice, and yes he sounds a bit like Geddy, but it's noticeable that certain [vocal] melodies meander along in stream-of-consciousness fashion, like a vine that hasn’t finished twisting into form.

The album begins with the multi-sectional, epic title track. Multi-sectional is the key, here, as Window Dressing amounts to little more than what must be several individual songs joined together at their interstitial borders. This is what constitutes many a side-length epic by a classic group, but usually there is some sense of transition or overall cohesion that threads itself throughout. What recurring theme there is, is barely skeletal in shape, and for what should have been a major kick in the seat of the pants in turn becomes the Window’s middle point. A plus is that there is plenty of fiery playing from Herin, Whittle and DeLeon. Propelled by a metallic riff, Lifeson-esque arpeggiations and some brief acoustic parts, the Rush connection continues with guest guitarist Kim Mitchell (former leader of Max Webster) on Capture The Flag, nine minutes of straight-up rockin' out for the duration, with nary a wasted beat. Three instrumentals figure into the grand design, Stop Gap arguably being the best with Herin performing on keyboard and trumpet, leaving bassman Whittle to play guitar. Stop Gap also features the talent of [Discipline focal point] violinist Matthew Parmenter. The next instrumental, Unicornopia, is a chamber piece that features Herin on heavily-reverbed piano and, again, Parmenter. Both of these instrumentals are slick, engaging pieces of differing tempo and texture, with the former giving the rhythm section room to strut. The third and shortest instrumental, A.02, is a mandolin interlude that serves as a prelude to the moody Slippers In The Snow — Syme provides the synthetic choral backdrop on this. Paintings is another heavy, straightforward rock tune that would be more effective had Rarick’s voice been mixed a bit louder; his falsetto isn’t quite pointed enough to cut through the mix.

In all, Window Dressing proves Tiles to be a solid, consistent act that will continue to experiment within the musical corridors it resides. Those familiar with the band’s sound know what there is (and more) to expect, and this release is probably as good — if not the best — for the newbie to check out.

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Magazine: Detritus Rock/Metal eZine
Reviewer: Neal Woodall

It has taken me awhile to review Tiles' latest release because frankly, this is a long album! I guess it's not that much longer than most albums but somehow it seems longer, this probably due in no small part to the title track which starts the disc off at 17 minutes! If you are not familiar with Tiles, they are a progressive hard rock band who play in a style similar to recent Rush and Fates Warning in places. Rush is a difficult band to be compared to, however, and most of the time you will pale in contrast to them. While Tiles are very good musicians and have a knack for writing intriguing and lyrically sophisticated songs, WINDOW DRESSING will probably prove a challenging listen for those who are not into progressive rock. You'll find the usual influences are quite evident here -- Yes, Kansas, King's X and Dream Theater are referenced at times. Terry Brown of Rush fame handles the production, and it is a bit choppy and somber, not unlike the Fates Warning disc A PLEASANT SHADE OF GRAY (which was also produced by Brown). There are plenty of heavy riffs on here but somehow the whole thing has a strange laidback feel to it, somewhat plodding and melancholic. Tiles are most effective on trimmed rockers such as Remember To Forget, Capture The Flag and Paintings, with the more introspective pieces and instrumentals sometimes a little too sensitive. More progressive rock than metal, this will appeal to those who appreciate interesting lyrical content and are patient enough to allow the songs to unfold in their own time; fans of the genre who are into more instant gratification may choose to look elsewhere, but if you give this a try you might find it an acquired taste...

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Magazine: Aardschok
Reviewer: Joost Holey
Translated from Dutch by Al Grabenstein

About two months ago, Inside Out re-released the first three Tiles CD’s, along with several bonus tracks. “Window Dressing” is the latest work of this American quartet. The group is usually compared with Rush, and that is not all that far-fetched when you listen to strong titles such as “Remember to Forget” and “All She Knows.” Yet during the past 10 years, Tiles nevertheless has developed a stubbornly diverging sound, and for that they deserve tremendous respect. The music is very melodious, appropriately progressive, yet certainly also tantalizingly steady because of its strong guitar play. The opening number, Window Dressing, which clocks in at a full 17 minutes, reflects precisely what Tiles stands for. This song has a peppy beginning with heavy guitars; a middle section with genuinely progressive, sparkling vocals by Paul Rarick and beautiful acoustic guitar passages; and becomes towards the end wonderfully intense again. Other top pieces are the beautifully crafted “Capture the Flag,” with guitar contributions by Kim Mitchell (ex-Max Webster) and the melancholy “Tear-Water Tea” with Matthew Parmenter (Discipline) on violin. Further, this album includes three instrumental pieces, among them the experimental “Stop Gap.” For a finale, Tiles have the long artful piece “Spindrift” in their back pocket, which is striking because of its almost hypnotic guitar work. Hugh Syme (among others with Arena) was responsible for the artistic design, and he also performed keyboards on “Slippers in the Snow.” Terry Brown (among others with Rush) was the producer of the CD. If you are considering purchasing this disc, then it deserves the recommendation that you choose the special edition. That is because it includes a bonus CD with eight live songs, recorded during the 1999 European tour, which Tiles did as a warm-up for Dream Theater.

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Magazine: Unknown German Mag
Reviewer: Henning Behrens
Translated from Dutch by Al Grabenstein

If you like solid rock that doesn’t shy away from getting rhythmically complex every now and then… then you are at the right place with this CD. The band has been in existence since 1993; one year later the American musicians released their first album. Co-founder Chris Herin (guitar), vocalist Paul Rarick, Jeff Whittle (bass) and drummer Pat DeLeon mix solid rock riffs with a generous portion of art house rock, similar to, for example, Rush from Canada.

With Tiles, this means: hammering drums, a skillfully complementary bass and a screaming guitar shine with plenty of power, chasing each other in ever changing rhythmic patterns; in addition, Rarick’s clear voice provides distinct melodies.

Our conclusion: a success.

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Magazine: ProgHard Rock (#93)
Reviewer: Unknown
Translated from German by Al Grabenstein

It takes quite a bit of courage nowadays to offer a CD opener of seventeen (!) minutes’ length. However, the Detroit rock quartet can afford to do so. Because for one, they have already received plenty of praise for their three previous albums (among others, Kiss bass player Gene Simmons and Dream Theater man Mike Portnoy are enthusiastic about the band), and then the songs, which were produced by Terry Brown (Fates Warning, Rush), are anything but longwinded. Indeed, they are reminiscent of Rush to some degree, but are much more complex – taking a much wider arc between spherical moments of synthetic strings and rhythm guitars, via powerful passages, all the way to complicated guitar riffs and rhythmic changes. Even though, for my taste, the Prog component is short-changed a bit. However, those who like hard rock with extravaganzas are exactly at the right place with this CD.

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Magazine: Oldie Markt
Reviewer: Unknown
Translated from German by Al Grabenstein

Like the “Band of the Man Next Door,” the group [Tiles] is part of the establishment in the area of progressive metal, which is evidenced by the title track that opens the CD and extends over 17 minutes. Since they don’t place great value on hardness, they are positioned near progressive rock and are able to integrate really good melodies into their sound. This makes this album, which is also available in a limited edition with a live CD, one of the better ones of the genre.

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Magazine: Rockszene.DE
Reviewer: Mark Preisegger
Translated from German by Al Grabenstein

Prominent proponents mark their way. Ian Anderson, head of Jethro Tull, noted already some time ago that “Tiles is one of the most hopeful bands of the new millennium.” Kiss bass player Gene Simmons thought he heard a refreshingly independent style, and Mike Portnoy of Dream Theater was raving about great song writing and exciting melodies.

And that was not all with respect to favorable reactions: When the progressive rockers from Detroit released their debut album “Tiles” in the mid-nineties, they were inundated with favorable reviews in the international music media. The thumbs went up from the Dutch magazine Aardschok to the Norwegian paper Scream all the way to the German specialty gazette Rock Hard.

Ten years after their debut Inside Out Music brings the albums “Tiles” (1994), “Fence the Clear” (1997) and “Presents of Mind” (1999) to the market again, with bonus tracks and re-edited sound track. Or, for the friends of pretty word creations consisting of words of foreign origin: digitally re-mastered re-releases in a Special Edition series. At the same time, Tiles release “Window Dressing,” their fourth studio work.

The opening and title track unfolds in archetypal progressive rock manner: from the first riff via spherical expanses all the way to the final line enveloped in acoustic guitars, for a proud 17 minutes. Those who like it more direct and without embellishments are truly at the wrong place with Tiles. Even relatively short songs like “Remember to Forget” or “All She Knows” have a complex structure and rock haltingly. The rhythms and melodic lines are multifaceted and expansive, which is musically sophisticated, but at times lacks fluid élan.

However, groove is not the first commandment of the progressive trade. Here we shift, with considerable trickery, from boogie to hard rock, then from folk down to the fields of ambience. Here one more change in tempo, there one more break, always moving on several levels. Rather one more cut than simply finishing the song in a straight line.

“Window Dressing” certainly has some beautiful and exciting moments to offer. For example, the nine-minute “Capture the Flag” progresses well in stretches, in spite of multiple breaks. However, all too often, right in the middle, pathetic notes take you around corners which somehow tax your patience -- like a detour that you don’t really want to take.

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Magazine: Metal Hammer
Reviewer: Marc Halupczok
Translated from German by Al Grabenstein

After a half-decade of silence, Tiles is back with “Window Dressing” in a way as one has come to expect from the Prog rockers. Their mix of Rush and Cat Stevens certainly is something special, even though they don’t make it easy for you to get into their fifth [sic] album. At the beginning is the title song, and that breaks the 17-minute mark, although it cannot hold your attention over the entire distance. The album gets really exciting during the middle part; the ear candy “All She Knows,” the somber “Capture the Flag” (fabulous refrain) and the heart throbbing tear “Tear-Water Tea” offer tasty morsels for sophisticated listeners. It’s a pity that the subsequent pieces do not quite match their quality. Sure, vocalist Paul Rarick has a soothing voice, but that should not be a reason for constantly exchanging guitars for violins. It should be of interest for Prog fanatics that Terry Brown (among others Fates Warning and Rush) was responsible for the near-perfect sound, and Hugh Syme contributed another fantastic cover. Moreover Syme, who as you may know, previously designed fabulous covers for Megadeth and Arena, can be heard as a guest keyboard player on this album. This curious fact does not turn a good album into an outstanding one, because for that the album is a bit too light (lit: the ”splish-splash” factor is a bit too high”).

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Magazine: Metal-Inside
Reviewer: Hardy
Translated from German by Al Grabenstein

After a break of almost five years, the Yanks of Tiles present “Window Dressing” - a new, and thus their fourth album. You can tell by listening to the album and the songs that with producer Terry Brown, a confessing Rush fanatic was sitting at the sound controls (it was Brown who, in the late seventies and early eighties produced those incomparable Rush albums, in addition to producing Fates Warning and IQ). And that Tiles in 1999 went on tour as a warm-up act for Dream Theater has also left its mark on Tiles’ song writing. Tiles cannot quite (yet) measure up against those two divine bands, however, by the same token they need not consider themselves to be too far behind with their fourth album. I was especially taken by the 17-minute opening track, “Window Dressing.” However, this complex song requires some patience – but it grows each time you listen to it. In contrast to some of their colleagues of the genre Tiles don’t get their jollies exclusively in endless songs (even the so-called “noodle” factor is present rather sparingly, and the keyboard remains discreetly in the background, if it is used at all), but they also know how to rock short and direct without losing their claim to progressive rock, such as in their second piece “Remember to Forget” of the powerful “Paintings.” The ballad “Tear-Water Tea,” supported by violins, knows how to please discreetly, the refrain to the great “All She Knows” is almost too catchy, and with “Capture the Flag” the men around guitarist Chris Herin have a true gem of prog rock in the starting line-up. Hard riffs and wonderful melodies enter into a complete, almost nine-minute symbiotic relationship. Oh yes, the almost jazz-like instrumental “Stop Gap” is rather atypical, to be sure, but it also reveals something about the abilities of the band from Detroit. Therefore, those who are vacillating between bands like Dream Theater and Rush and who, in addition, also like it a little melancholic every now and then are just at the right place with Tiles. And, as an extra, the new Tiles opus is available as a special edition with a bonus CD, which, in addition to an intro, includes seven full-length live tracks from the 1999 European tour. All of this is designed in true bootleg fashion, which means that the quality is not exactly overwhelming, however, precisely because of this it conveys a genuine live atmosphere. Included are: “Patterns,” “Token Pledge,” “Static,” “Modification,” “Ballad of the Sacred Cows,” “Facing Failure,” and “Another’s Hand.”

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Magazine: Progressive Land
Reviewer: Jerry Lucky

There are times where a band gets saddled with an association that they may or may not be totally comfortable with. You know what I mean, bands that get labeled as sounding like ELP or Genesis or in the case of Detroit’s progressive hard rockers Tiles, Rush. This isn’t necessarily a bad thing and for the band in question, Tiles, they seem to have embraced the association. Although I must admit that you’d be hard pressed to draw a lot of direct links to Rush by listening to Tiles latest offering Window Dressing.

This four-piece outfit consists of Mark Evans (drums), Chris Herin (guitar), Paul Rarick (vocals), and Jeff Whittle (bass). Tiles are one of those hard working road bands and they have a long list of performances to back it up touring or playing in support of the likes of Spock’s Beard, Dream Theater and Fates Warning, to name a few. And as is always the case that live gigging really manifests itself in Tiles ability to perform together. Kind of a bonus for the band, are the production skills of Terry Brown.

I said at the outset that Tiles are a progressive Hard Rock band and I intentionally avoided the prog-metal tag for good reason. Sometimes they get very close but by and large the music here, while guitar-heavy avoids the wall-of-crunch that can become so prevalent with the prog-metal set. Here the compositions tend to breathe a little more without the sonic assault. The CD opens with the seventeen-minute epic title track “Window Dressing” that goes through four of five different themes to set the tone for the rest of the CD. There are other tracks such as “Tear-Water Tea” that are more acoustic and demonstrate the bands ability to work successfully outside the hard-rock confines. This track and the instrumental that follows it “Stop Gap” feature Discipline’s Matthew Parmenter on violin. In fact Window Dressing has three shorter instrumentals where Tiles are able to display yet another side to their compositional skills. The tracks tend to fall in the four-five minute range and any time-or-tempo shifts are pretty subtle with the band relying more on density or arrangements to create the compositions diversity. In fact listening to “Unicornicopia” makes one want to actually check to see if it’s the same band. Throughout the CD it’s clear that the band work within the song format with an emphasis on working within the melody rather than simply running off in all directions at once.

Window Dressing being the fourth release, Tiles clearly show a certain maturity both in terms of composition and performance. For fans of progressive rock with a harder edge this is a no-brainer, Tiles are easily one of the top-ten bands performing in this style. Word is, as I write this they’re in the midst of finishing up their new CD set for release in early 2007. Till then, if you haven’t yet done so pick up a copy of Window Dressing. For those moments when something a little stronger is required, Tiles clearly fills the bill.