Wednesday 29 February 2012

P'dice Review from iOpages.nl - Dutch

Je hoeft er niet lang over na te denken waar Paul Cusick de mosterd vandaan haalt, want je hoort inderdaad verschillende referenties stevig doorklinken in zijn muziek. Er wordt opzichtig geflirt met Porcupine Tree en vriendelijk geglimlacht naar Pink Floyd, terwijl ook de (wereld)muziek van voormalig broodheer Peter Gabriel voor inspiratie zorgde. Voeg daaraan twee absolute drumkanonnen toe, die beiden dikke vriendjes zijn met Steven Wilson en je kunt je vast een voorstelling maken van P’dice, het tweede album van deze multi-instrumentalist. Hij zal er bijzonder mee in zijn nopjes zijn geweest dat Marco Minnemann en Gavin Harrison – want over die kanonnen hebben we het hier – plaatsnamen op de kruk en daarmee een even solide als inventieve basis creëerden. De rest deed Cusick zeer voorbeeldig zelf: bas, gitaar, toetsen en de productie, net zoals op zijn debuutalbum Focal Point, waarmee hij via Facebook behoorlijk wat publiciteit genereerde. Het resultaat mag er zijn; deze deels door fans voorgefinancierde plaat klinkt prima. Cusick zingt heel behoorlijk en componeerde er lustig op los, wat resulteerde in tien progressieve songs met een krokant poprockrandje. You Know en God Paper Scissors zijn naar het beproefde PT -model gegoten met zware riffs, atmosferische keyboards en de bekende, enigszins naargeestige toonzetting. Ook Peter Gabriel is al genoemd en voor When It Rains heeft Cusick zonder enige schroom een velletje carbonpapier over diens oeuvre gelegd. De percussie klinkt vertrouwd, ja zelfs Cusicks stem neigt naar het kelige timbre van de proglegende, overigens zonder ooit zijn enorme impact te benaderen. Tijdens Waiting lijkt het dan weer of we naar Blackfield zitten te luisteren, tot de misthoorn van Sammi Lee losbarst waardoor de boel verzandt in kleverige kitsch waarop Jim Steinman voor eeuwig patent heeft. Borderline zal echter door de sfeerwisselingen en klassieke progelementen bij velen favoriet zijn. Hoewel alles na meerdere draaibeurten netjes op zijn plaats valt, klinkt het in mijn oren toch allemaal nét iets te bedacht en dat staat een emotionele binding in de weg. Desalniettemin zal P’dice Cusick weer het nodige krediet opleveren in de progwereld en dat is hem op grond van zijn kwaliteiten gegund.


English Translation - My thanks to Tim Smedinga

You don't have to wonder for long where Paul Cusick gets his engine running, because you can indeed hear a few different references sound through heavily in his music. There is obvious flirting with Porcupine Tree and friendly smiling to Pink Floyd, while the (world) music from former patron Peter Gabriel is also an influence. Add to that two absolute drumming cannons who are both good buddies with Steven Wilson and you can imagine what P'dice sounds like, the second album by this multi-instrumentalist. He will probably have been quite pleased with the fact that Marco Minnemann and Gavin Harrison - the cannons we are talking about - took their place on the drummer's seat and created a basis that was as much solid as inventive. The rest was exemplary done by Cusick himself, just like on his debut record Focal Point, with which he created quite a bit of publicity on Facebook. The result speaks for itself, this partly crowdfunded record sounds great. Cusick is a very decent singer and composed very heartily, which resulted in ten progressive songs with a crispy poprock edge. "You Know" and "God Paper Scissors" are modeled after the proven PT-mold with heavy riffs, atmospheric keyboards and the well-known, somewhat gloomy composition. Peter Gabriel has been mentioned already and as for "When It Rains", Cusick shamelessly put a sheet of carbon paper over his works. The percussion sounds familiar, yes even Cusick's voice tends to the throaty sound of the prog legend, moreover without ever coming close to his enormous impact. Then, during "Waiting", it seems as if we're listening to Blackfield, until Sammi Lee's foghorn bursts in, which turns everything in to sticky kitsch which is Jim Steinmans eternal copyright. However, due to the shifts in ambiance and classical prog elements, "Borderlines" will be the favourite of lots of people. While everything falls into place nicely after a few listens, it all sounds just a bit too thought out to me and that stands in the way of emotional bonding. Nevertheless, P'dice will bring Cusick quite some credit in the world of prog, and based on his qualities, he has earned it.

P'dice Review from Musicwaves.fr - French

Fort d’un premier album de belle facture, l’anglais Paul Cusick revient à notre bon souvenir avec P’Dice, opus subventionné par plus de 500 personnes (dont votre serviteur qui a eu de fait l’honneur de voir son nom apparaître sur la dernière page des donateurs). L’homme a ainsi pris son temps pour peaufiner sa deuxième livraison.

Dix titres forment cet opus et, si la majorité des plages n’est pas enchaînée, il peut être considéré comme un concept album de part l’histoire relatée ici, celle d’un homme qui explore les divers moments de sa vie et leurs enchaînements, conscient ou pas. Cette fois encore Paul se charge de l’ensemble des instruments hormis la batterie qu’il a laissé à deux noms connus et reconnus : Marco Minnemann et Gavin Harrisson. Sammi Lee vient aussi pousser la chansonnette sur "Waiting" faisant s’envoler la composition en y apportant un peps certain !

Si le fantôme de Porcupine Tree hantait "Focal Point", il est encore bien présent dans la construction des compositions. En effet, la classique montée en puissance qui se termine par un déferlement de guitare qu’utilise fréquemment la troupe de Steven Wilson marque de son empreinte "God, Paper, Scissors", "Tears" ou "You Know". Mais Paul Cusick réussit tout de même à imposer sa différence, en l’occurrence sa voix, qui peut se révéler envoûtante et chaleureuse ("God, Paper, Scissors", "Feel This Way", "Hindsight") ou percutante et directe ("Everything", "You Know"). Sans être le meilleur vocaliste du circuit, Cusick assure et c’est l’essentiel.

Bien ancré dans un rock progressif moderne, l’anglais rejoint son collègue Robin Amstrong (Cosmograf) dans la tradition des longues compositions avec un "Borderlines" qui alterne moments émouvants (l’introduction avec cloche et guitare pleureuse à la Andy Latimer) et passages soutenus (notamment les refrains), le tout complété par deux soli de 6 cordes avant un final tout en douceur. Finalement le percutant titre d’ouverture, très rock, se trouve être un leurre s’écartant de peu de l’atmosphère générale de l’album sans toutefois être mis à l’écart.

Enfin, sans être technique les nombreuses interventions solistes des guitares électriques se font fort à propos et, judicieusement positionnées, elles ponctuent l’album de belle manière. Petit clin d’œil aussi à Peter Gabriel avec "When It Rains" et sa basse ronflante calquée sur "Mercy Street".

Avec "P’Dice", Paul Cusick ne rompt pas totalement avec le registre dans lequel il s’est aventuré deux ans plus tôt. Cet album se veut cependant plus personnel et moins accessible de premier abord, nécessitant ainsi plusieurs écoutes pour bien ressentir l’émotion qui s'en dégage. Encore un bel album de progressif moderne à se mettre sous la dent dans la lignée du dernier Cosmograf.


ENGLISH TRANSLATION by Luc Cyr

With a finely crafted debut album, British Paul Cusick makes a welcome return with P'dice, an opus funded by more than 500 people (including myself who has had the honor of seeing my name appear on the last page of donors). The man has taken his time to craft his second delivery.

Ten songs complete this album, and if the majority of tracks are not related, it can be considered a concept album by the story told here, that of a man who explores the various moments of his life and by the tracks sequences, conscious or not. Again Paul is responsible for all the instruments except drums, which he left to two well known and recognizable names: Gavin Harrison and Marco Minnemann. Sammi Lee also carries a tune on "Waiting"making the composition rise up by providing some power!

If the Porcupine Tree ghost haunted "Focal Point", it is still present in the construction of the compositions. Indeed, the classic rise that ends with a surge of guitar frequently used by Steven Wilson’s group  marks "God, Paper, Scissors", "Tears" or "You Know". But Paul Cusick still manages to impose his differences, in this case his voice, which can be mesmerizing and warm ("God, Paper, Scissors", "Feel This Way", "Hindsight") or forceful and direct ("Everything", "You Know"). While not the best vocalist of the circuit, Cusick provides waht is needed.

Although rooted in a modern progressive rock, the Brit joined his colleague Robin Armstrong (Cosmograf) in the tradition of long compositions with a "Borderlines" which alternates lush soundscapes (with bell in the introduction to the Andy Latimer’s weeping guitar) and supported passages (especially the chorus), completed by two 6-string solos before a smooth finale. Finally the powerful opening track "Everything", very rocky, perhaps not in keeping with the general atmosphere of the album but cannot be ignored.
 
Finally, without being too technical, the numerous electric guitars solos are aptly and carefully positioned, they punctuate the album in fine style. A nod here to Peter Gabriel with "When It Rains" and his rumbling bass on "Mercy Street".
 
With "P'dice", Paul Cusick does not break completely with the style in which he ventured two years earlier. This album is however more personal and less accessible at first, requiring a few listens to fully feel the emotion that comes out. Another great modern progressive album to get a taste of in the tradition of the latest Cosmograf.

 

Monday 27 February 2012

P'dice Review from Powerofprog.com

Focal Point was one of the most impressive debut albums of recent years and Paul Cusick continues to punch well above his weight on this sophomore release on his own label Q Rock Records, this time round with an atmospheric and emotional lyrical intensity added to his impressive musical armoury. 

Cusick writes, produces and plays all the instruments (except drums, this time round impressively played by special guests Gavin Harrison and Marco Minnemann) and allows the songs to breathe, taking on their own dynamics in the open spaces. 

Take a dollop of Porcupine Tree, a dose of Mostly Autumn, a dash of Peter Gabriel and a dusting of Dave Gilmour and you’re not a million miles away musically, but Cusick is forging his own identity, this time round adding breathy intimacy and brave self-exposure to a set of cleverly crafted songs that are challenging (‘God, Paper, Scissors’), emotionally raw (‘Waiting’) and understatedly post-progressive (‘Borderlines’).

Link to source review

P'dice Review from Unprogged.com - Italian

Quando crediamo fortemente in un progetto, nessun ostacolo dovrebbe impedirci di provare a realizzarlo; Cristoforo Colombo era convinto di poter raggiungere le Indie viaggiando verso Ovest e per intraprendere il suo viaggio chiese aiuti logistici e soprattutto finanziari a diversi sovrani europei; dopo aver subìto il rifiuto del potentissimo re del Portogallo non si perse d’animo e rivolse la medesima richiesta alla regina di Spagna, la lungimirante Isabella di Castiglia, che gli concesse credito, un equipaggio e tre caravelle.


Con la stessa determinazione il musicista inglese Paul Cusick, dopo aver pubblicato a sue spese il primo disco (“Focal Point” nel 2008), si appellò ai fan chiedendo di comperare in anticipo il suo futuro secondo lavoro; in 500 aderirono fornendogli i mezzi di sostentamento necessari per sospendere la sua professione di ingegnere, costruire uno studio di registrazione e realizzare il suo progetto: l’album intitolato P’dice di cui ora parlerò.

E’ un bellissimo disco con più anime, che si destreggia agevolmente tra i ritmi effervescenti dei Karmakanic (“Everything”) il mood nostalgico caro a Peter Gabriel (“Waiting”) e le arie PROG tipiche dei Porcupine Tree (“Borderlines” e “You know”). E’ forse questo il gruppo da cui Paul trae maggior ispirazione e ciò si percepisce ascoltandone la voce che assomiglia (non se se volutamente) a quella di Steven Wilson e dalla presenza dell’immenso Gavin Harrison alla batteria; in questo disco infatti, Paul suona tutti gli strumenti ma desiderando di avere alla batteria due mostri sacri che lui considera degli idoli (Gavin Harrison e Marco Minnemann) gli mandò alcune registrazioni chiedendo se volessero arricchirle con le rispettive capacità ritmiche; sorpresi dalla qualità delle canzoni, entrambi accettarono e si divisero il compito.

Come detto in precedenza, si respirano diverse atmosfere: da quelle più ritmate e briose dell’inizio dove brani come “God, paper, scissors” rendono l’ascolto molto divertente, ad un finale più mellifluo e delicato con brani come “Hindsight” e la successiva “Feel this way” che con molta grazia giocano a solleticare le nostre emozioni, vibrando a basso volume ma ad elevata intensità. La conclusiva “The human race” con i suoi due minuti scarsi di leggerezza rende un dolce commiato che permette di spegnere il CD con un soddisfacente appagamento sensoriale, un godimento che dischi musicalmente anche migliori di questo a volte non regalano.

Come racconta Paul sul suo sito, il titolo “P’dice” è un gioco di parole: rappresenta sia l’abbreviazione della parola “Prejudice” sia l’approssimazione di “i dadi di P”. Gli argomenti trattati parlano infatti di pregiudizi (sessismo, razzismo, classismo e tanti altri “ismi”), di come la nostra vita sia condizionata da essi e da una buona dose di casualità, rappresentata dai dadi: un pizzico di filosofia che aggiunge valore ad un disco qualitativamente molto valido.

Link to Source Review

ENGLISH TRANSLATION by Phil Destefano and Robert Walden.

When we strongly believe in a project, no obstacle should prevent us from trying to achieve it.Christopher Columbus was convinced he could reach the indies travelling from the west and to realise this journey he asked for help both logistics and financial to several european sovereigns.After being refused by the powerful
King of Portugal he didn't lose faith  and revoged his request to the Queen of Spain Isabella di Castiglia,who with great hindsight agreed to give him credit, crew and three carravels.

With the same determination the english musician Paul Cusick after recording at his own expense ( Focal Point in 2008) turned to his fans asking them to buy in advance his future second work: 500 accepted giving him the opportunity to give up his job as an enginneer and build a rcording studio and carry out his
project, the album entitled P'dice, I will now talk about.

It's a beautiful record with a lot of soul that unravels nimbly into aneffervant rythm of Karmakis (Everything) the nostalgic moodiness dear to Peter Gabriel (Waiting) and the melodic Prog typical of Porcupine Tree (
Borderlines) and ( You Know). Perhaps this is the group in which Paul finds inspiration most of all because as you percieve listning to his voice ( I don't know if it's volontary) a similarity to that of Steven Wilson and the presence of the great Gavin Harrison on drums. Infact in his record Paul plays all the instruments but with great desire to have at the drums two big names of the music industry he considers his idols (Gavin Harrison and Marco Minnemann) whom he sent some of his recordings asking if they would consider to enrich them
with their own respective rhythmic capacities. Amazed at the quality of his work they both accepted, dividing the task between themselves.

As mentioned previously, you breath many atmospheres, from the more rythmic and lively at the beginning where pieces like "God, Paper, Scissors" has a fun sound to a more sugary and delicate final with songs like "Hindsight" and the subsequent "Feel this way" leading you gracefully, teasing and prompting our
emotions, vibrating softly but at high intensity. The concluding "The Human Race" has a delightful care-freeness and sweetness about it that allows you to turn off the CD with a feeling of satisfaction and contentment that other songs maybe musically superior sometimes don't award you.

As Paul tells on his site, the title"P'dice" is a word game representing the abbreviation of the word "Prejudice" and meaning the "dices of P". The subjects dealt with talk infact about prejudices (sexism, racism, classism) and other "isms" and how our lives are influenced by them, along with a good dose of chance, in other words with the toss of the dice. So a pinch of philosophy that adds value to a record of valid quality.


P'dice Review from Melodic.net

Paul Cusick is a multi-musician from the U.K, he released his debut "Focal point" in 2009 and managed to get 500 pre-orders for his next album from fans helping to finance his music, which is a really nice gesture and a great way to support an artist. Paul´s influences come from songbased progrock with artists like Porcupine Tree, Marillion and Pink Floyd but also epic pop like Coldplay and U2. Even though his new album "P´dice" (the title is Paul´s play with the word prejudice) is 1 hour long, it doesn´t feel lengthy mostly because of the variation in the songstructures and many songs are rich of nuances plus I like Paul´s gentle melodies. Perhaps the production is a bit light but it works, close your eyes and daydream to "Hindsight" or mindtravel majestic to the grande "Borderlines". There´s no doubt, Paul Cusick is a talented artist. The album features guest appearances from drum legends Gavin Harrison (Porcupine Tree) and Marco Minnemann (U.K).

P'dice Review from Neoprog.eu - French

P’dice est un album composé par Paul Cusick avec Gavin Harisson, Marco Minnemann et Sammi Lee au chant.

Everything est un morceau direct, énergique, très rock, couplet refrain, peu de chose à voir avec le progressif sauf cette rupture à la dernière minute, pas d’instrumental mais un changement de ton et de vitesse.

God, Paper, Scissors sonne comme le début de Invisible Man, ces percussions, ces petites notes de claviers, le son de la guitare, et comme Invisible Man, le titre décolle lentement après plus de trois minutes quarante, riff hargneux et en toile de fond le refrain My God, Your God. Excellent.

Dépassant les onze minutes, Borderline attaque le grand format de l’album.
Le démarrage est planant, son de cloches dans le lointain, quelques notes de guitare espacées, nappe de claviers, percussions isolées et on est déjà à plus de quatre minutes. La guitare s’éveille alors et arrive le chant avec une construction classique couplet refrain, classique oui mais accrocheur. Après le second refrain, rupture de rythme, les claviers jouent quelques nappes avant l’arrivée d’un magnifique solo de guitare, trop court bien entendu mais qui laisse place à un instrumental qui s’efface enfin pour un dernier couplet au piano et guitare. Le texte est magnifique, la chanson bien construite, bref vous aimerez.

Avec quelques notes de piano et de guitare, des percussions et des belles paroles, Paul compose plus de la moitié de Tears de manière très intimiste et épurée. Mais la guitare répétant inlassablement les mêmes notes secoue brutalement l’auditoire pour deux minutes énergiques avant que la musique ne revienne sur le piano pour finir le titre. On sent l’évidente influence de Gabriel dans la première partie.

You Know est un peu plus classique mais le contraste entre refrain et couplet est bien maîtrisé.
A la quatrième minute solo de guitare un peu conventionnel mais le final apporte un peu d’originalité, surtout le jeu de basse et percussions particulièrement brillant.

Hindsight reprend l’atmosphère de Tears avec une guitare acoustique en plus, musique tout en attente, qui se met en place très lentement. Le chant assez nostalgique arrive après trois minutes, soutenu par la guitare et quelques notes de piano. Un titre assez bref et très touchant.

Feel This Way et When It Rains glissent sans vraiment accrocher, dommage.

Avec Waiting on revient à une musique plus construite même si elle ne laisse rien paraître. L’arrivée de Sammi Lee au chant, de nombreux breaks, imperceptibles pour certains, et cette dernière minute trente presque sans musique, avec Sammi qui murmure avant les trente secondes de silence, c’est tout simplement magique.

The Human Race termine cet l’album, une minute et cinquante et une secondes. Incroyable ce que l’on peut faire en si peu de temps. Très beau final !

Beaucoup d’influences dans cet album, quelques titres un peu planplan et de très jolies choses, progressives ou pas. On ne profite peut-être pas assez des talents de Gaving ou de Sammi, par contre les textes sont magnifiques et quelques titres très inventifs comme Waiting.

Link to Original

Note: Translation Needed :o)

Friday 10 February 2012

P'dice Review from Germany Derwesten.de

As if Paul Cusick wanted to commemorate himself, I stepped at one of his promo cards lying in the photographers pit at the Düsseldorf Concert of Dream Theater. The target audience of these progressive metal giants are quite smilar to that of this British guy. With his new Album P'dice (released in January on his own label Q Rock Records) he is fishing in the pool of the progressive and hard rock fans.

With the last notes of Dream Theater barely out of my ear, I listened to Cusick's album again. One impression disappeared very quickly: That this man from York has produced an old school hard rock album. At best only track one called "Everything" is an uptempo track without further adornments.

The concepts that Cusick develops, continuing on from track one, will provide friends of Porcupine Tree, Steven Wilson, Pink Floyd or Riverside with great joy. Definitely outstanding is in this case the long track "Borderlines". This song eases itself along for four minutes with keyboard and guitar soundscapes before the single meloncholic guitar sets the tone. In this kind of bluesy song, Cusick's voice is laid back, emotional and reminds me vocally of the softer songs by regional bands like Fury in the Slaughterhouse.

Cusick continues with this soft theme: "Tears" by definition is not a cheery song. "You know" then starts with noises and drumbeats with hints and overtones of world music, but then the guitars get rougher reminding me a bit of the mood Steven Wilson conjured on Porcupine Tree's "Fear of a Blank Planet" or the EP "Nil Recurring". Subsequently "Hindsight" and "Feel this way" are sparinly orchestrated and once again very melancholic. This atmosphere remains until the end of the album, when Cusick, as an exception, shares the microphone with Sammi Lee in "Waiting". This song owns a short but intense reverberation into "The Human Race". A ambitious Album with a pensive keynote.

There's another overlap to the crowd of the Dream Theater concert. Cusick invited prominent musicians to record the instruments he cannot play himself: the drums. To be precise: Porcupine Tree Drummer Gavin Harrison (three Songs) and german Marco Minnemann (played with Nena among others). Minnemann not only sat at the drum kit for Steven Wilson's recent solo tour, but also applied for Mike Portnoy's vacated job with Dream Theater. Mike Mangini finally got that job.

Toptip: Borderlines.

My thanks to translations from  Björn Magdans and Dennis V-Derfort

Link To Original Review on Derwesten.de

Monday 6 February 2012

P'dice Review from DPRP (Dutch Progressive Rock Page)

I like to think that advertising never sucks me in, as in “I am an individual, not a number”, and probably you all think that way too. Now take a look around your home, how many things are there because you’re familiar with them, a familiarity reinforced through endless advertising. And how many things are there because you thought “that might be good” having seen something that caught the eye on TV or Facebook or wherever.


Such a thing, if he doesn’t mind being called a “thing” is Paul Cusick who I’ll admit first caught my eye with a Facebook advert a couple of years ago along the lines of “If you like Porcupine Tree you’ll like this”, and as his first album was available then as a free download, what did I have to lose? That first album Focal Point was indeed heavily influenced by Mr Wilson’s combo, and by Pink Floyd but showed enough promise for me and a few hundred others to pay up front for the recording of this his second album.


P’dice, short for The Personal Possession Of A Random Prejudice, is a nice progression from Focal Point although the Floyd/PT influence is still there, as you would expect. With drum duties shared between Marco Minneman and Gavin Harrison it is hardly surprising that the PT and Steven Wilson influences are writ large although there is now undoubtedly a Paul Cusick sound developing that is taking its own path.


Opener Everything rocks out and is the most upbeat song on the album, Marco’s pounding rhythm propelling the thing along at a pace, before slowing to end with what will become the trademark modern atmospherics. Tears is a ballad that could be sad but is actually uplifting and puts me in mind of Peter Gabriel, until the guitar solo lifts the thing into stadium rock territory. When It Rains also has the Gabriel influence as it tells its tale of emotional loss and pain. Hindsight is a personal favourite, the three verses of personal regret being sung to a minimal background at the end of a four and a half minute song that has previously built up a cinematic atmosphere of edgy melancholia, quite a clever piece of writing indeed. A dark place is visited on Waiting as Paul and guest singer Sammi Lee sing a plaintive torch ballad about struggling to come to terms with cancer, and its terminal outcome, sending a shiver down my spine.

Paul plays everything apart from the drums, and as can be the case with one-man band style productions there are moments that lack a bit of clarity but overall the sound is well managed and suitably modernistic. Should Paul ever be able to take this on the road it will be worth a visit that’s for sure.

The straightforward lyrics deal with love, regret and pain, and a nagging dissatisfaction at the way we live in the West, be it railing at capitalism, or the lack of spirituality, or bemoaning prejudice, which is where the album title comes in. Paul has made various announcements through his judicious use of social networking media over the past year or so as to the progress of his work throughout its gestation in order to keep us sub payers up to date. All through this process I always assumed that P’dice was simply a working title as it sounds a bit naff if I’m being honest, but this was the title he ran with. A minor gripe I suppose!

Whatever, Paul is a shining example of how to use modern social communication methods to not only promote, but also to self-finance an album release, and new bands and artists could do worse than follow his example, or at the least ask for his advice. The clincher is will I be paying up front for the third album, should he choose to go that route again? On this evidence why not, as Paul shows a growing maturity in his song craft and is forging his own sound, a sound that fans of mid-period Floyd and lovers of the Kscope bands should have no problems getting into. In fact, Paul recently announced that modern independent music distributor Burning Shed will be promoting P’dice, and a more fitting home for Paul’s music would be hard to imagine. All he needs now is a contract from main Burning Shed suppliers Kscope as that label is probably where he would feel most at home, so if anyone at Kscope Towers reads this, do give P’dice a listen!

 Read Review at DPRP.net

Wednesday 1 February 2012

P'dice Review from Alternativematter.net

With 2009′s Focal Point, guitarist Paul Cusick set out on a solo career, taking over all song-writing, production and instrumental duties (bar the drumming). That album created sufficient buzz (largely due to Cusick’s canny use of social media) that there was a large enough fan base to fund the follow-up, P’dice. He has also earned the clout to hire 2 of the greatest drummers of recent times, hell, of any time – Gavin Harrison and Marco Minnemann.

P’dice is a concept album. Prejudice gives the album its idiosyncratic name and lyrical inspiration. Cusick himself describes the narrative as “the story of one man as he explores moments of his life, his actions, his thoughts, his decisions, his feelings, his realisations and how they were shaped, often unconsciously, by prejudice”. Lyrically Cusick has come on leaps and bounds from Focal Point. This is confident, assured writing delivered with conviction and, where appropriate, a vitriol to match Roger Waters. The music self-consciously pays homage to influences like Pink Floyd, Peter Gabriel, Steven Wilson, Marillion, and wears those influences like a badge on its tie-dye sleeve. If you’re looking for Crimsonesque forays of experimental progressive music this may not be for you but if you like well-crafted songs performed with consummate skill then read on…

“Everything” kicks off the album in upbeat fashion with a hard-rocking hammer-on/pull-off guitar riff backed with contemporary synth patterns. Lyrics dealing with social division brought about by class and wealth paraphrase Pink Floyd’s “Money” – “Fast car, caviar, bank accounts, trendy bars”. Cusick so self-consciously channels his influences that it’s difficult to use the accusatory, derogatory term “rip-off” – he’s paying homage to these artists and why not? They’re giants of progressive music. His vocal delivery in “God, Paper, Scissors” is pure close-miked Waters pastiche to an electronic backing that wouldn’t have been out of place on Peter Gabriel’s Up. The track morphs into the electro-industrial prog of Porcupine Tree’s Halo. Such familiar devices do not interfere with my enjoyment of Cusick’s music. He does it so well that yes, it’s fun to spot the references, but there is enough melodic diversity and attention to detail in the songwriting and arrangements that P’dice has its own character. Enough of the prog-spotting, on with P’dice on its own merits.

“Borderlines” is an 11+ minute suite dealing with the artificial geographic divisions we build up and how modern technology bridges those divides – lyrics surely inspired by the Arab Spring. Elsewhere prejudice brought on by race and mental illness are explored. “Waiting” deserves specific mention for the vocal by Sammi Lee which forms a duet with Cusick’s ghostly, whispered interjections. Heart-rending music with an interesting production twist which makes it that bit more special. The production techniques, the overarching lyrical concept, the fact that everything bar the drums is played by Paul Cusick himself – these factors complement one another. P’dice is entirely the vision of one man: from composition to mixing to mastering, it is unsullied by outside interference or band democracy and it sounds all the better for it.

Yes, it’s difficult to escape the reference points – for example, those waiting patiently for the next Porcupine Tree or Anathema album will find this a worthy stopgap – but P’dice stands on its own and deserves to be listened to without prejudice.