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.
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