P'dice Reviewed on DaMusic - Dutch

Als twee van ’s werelds beste drummers op je plaat willen meespelen, moet je wel uit het goede hout gesneden zijn. Na het goed ontvangen debuut,  ‘Focal Point’, moet Paul Cusick op ‘P’dice’ (kort voor prejudice) definitief bevestigen. De Britse multi-instrumentalist doet wat van hem verwacht wordt.
Binnen een retrospectief genre als prog toch vernieuwend uit de hoek komen, het is de aard van dit beestje. Niet Yes of Genesis, maar Porcupine Tree, OSI en Tool klinken door in de eigen composities van deze ex-gitarist uit de begeleidingsband van Peter Gabriel. Maar het is ook de afwisseling met mijmerende, Floydiaanse passages die deze plaat boven de middelmaat doet uitstijgen.
‘P’dice’ is niet de plaat waar je meteen vrolijk van wordt. Het typisch Britse, druilerige gevoel van somberheid overheerst. Cusick heeft als singer-songwriter verhalen te vertellen met dezelfde misantropie als die van Roger Waters. Opvallend scherp is het afsluitende The Human Race: “Sorry you can’t come in / We’d like to say you’re welcome here / but that is not the case / Don’t take this personally / we love the place that you come from / we just don’t like the Human Race."
De keuze van Gavin Harrison (Porcupine Tree) en Marco Minnemann (UKZ, The Aristocrats) om achter het drumkit te kruipen, is de goeie geweest. Beiden hebben ze een moderne groove die past bij de broeierige ritmiek en de vette galm van de gitaren. Maar eens de mokerslagen van Harrison en Minnemann zwijgen, zijn het Cusicks arpeggio’s op de klassieke six-string die een onbehaaglijke sfeer oproepen.
Vocaal is Pink Floyd een duidelijke referentie, maar Cusick is geen groot zanger en dus had hij beter niet alleen een drummer, maar ook een ‘grote’ stem ingehuurd. Die moet dan wel opboksen tegen de moderne ritmes en de interessante gitaarriffs. Misschien kan hij de volgende keer Damian Wilson vragen, die met zijn geweldige strot momenteel indruk maakt bij zijn nieuwe band Headspace.

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P'dice Reviewed By Jerry Lucky

Some folks love the collaborative efforts of being in a band. Others just get the urge to do things on their own. It was the later that finally caught up with Paul Cusick. After spending time as lead guitarist in a number of bands the urge became too great and he struck out on his own and created his first solo CD entitled Focal Points. The response was so positive he’s done it again and given us P’dice. Cusick is playing pretty much everything here although he does have help from two drummers including Porcupine Tree’s Gavin Harrison. Did I mention this is a concept album? Well it is, all about reflecting back on our thoughts and actions through the eyes of prejudice. In a nutshell the music here is a melodic mix that reminds me of the work of Alan Parsons mixed with Camel and a bit of Pink Floyd.

We have ten tracks on P’dice, the longest being just over eleven-minutes while the shortest is just under two. We start off with the tune “Everything” [5:01] a rocking, fast-paced tune that’s designed to get you in the mood. Cusick’s real talents aren’t on full display just yet, but as track two commences, “God, Paper Scissors” [5:24] with its soft, almost spoken intro over Peter Gabriel styled ominous synth foundation you get a better idea of the overall feel of the disc. The tune continues to build in intensity till it‘s grand climax. In some senses I’m tempted to place Cusick in the same general prog category as artists like Steve Thorne, a musical story-teller. He clearly has much to say and the lyrics allow him the pulpit to get things off his chest. The music on the other hand stretches over a wide landscape to suit the overall feeling Cusick has incorporated into his words. If it’s anger, the music rocks and is aggressive, if its despair the music reflects that. Guitar being his ‘first’ instrument so to speak, there are plenty of great lead lines sprinkled throughout, but they’re rarely so dominant as to distract. While much of the music has a somewhat hesitant or even somber tone each instrument is inserted judiciously help convey the composer’s feelings.   

I’m not hearing any kind of sophomore slump with Paul Cusick’s second release. P’dice is a very strong set of tunes. If you are a fan of any of the artists mentioned above I’m quite sure you’ll find much to enjoy here. The music on P’dice is melodic enough to get you humming along and yet is eclectic enough to keep you guessing. It’s a nice combination.

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P'dice Reviewed On progressive-area.com - French

Si le premier album de Paul CUSICK « Focal Point », n’avait pas provoqué chez moi une quelconque hystérie, et bien il n’en est pas de même sur cet opus appelé étrangement « P’Dice », et pour le coup cette livraison fleure bon l’excellente cuvée discographique.
L’inspiration est au rendez-vous, et l’inventivité allant de pair, ce disque grimpe directement en haut de la pile des albums majeurs, voir fondamentaux, et par voie de conséquence à ne surtout pas louper en ce début d’année.
Le thème central de cet album tourne autour des préjudices moraux que peuvent connaitre les êtres humains au cours de leur existence, « P’Dice » étant la contraction de la phrase anglaise « The Personal Possession Of a Random Prejudice », que Paul CUSICK traduit dans ses chansons par ces fameux préjudices d’ordre religieux, sexistes, voir homophobes, auxquels on peut être confronté, un jour ou l’autre, enfin vous constaterez comme moi que le mec est vaguement « intello ».
Mais il est évident que c’est la musique qui est jouée ici qui nous intéresse au premier chef, et celle-ci est plus que passionnante. En effet, la pugnacité qu’a développé Paul CUSICK sur cet album force le respect, et vous coupe le souffle à bien des égards, et ce, sur la quasi-totalité du disque.
Ce travail d’orfèvre se distinguant de façon très nette des productions auxquelles nous sommes habitués, bien souvent assez ternes, et qui certaines fois nous laissent sur notre faim.
Paul tient les voix, joue de tous les instruments, sauf les parties de batterie, puis il a écrit les textes, composé la musique et produit l’album. Mazette, le mec n’a pas chômé, ce n’est pas le style de la maison ma bonne dame !
J’ai perçu dans ce disque de nettes influences de VAN DER GRAAF GENERATOR, ce groupe emblématique auquel Paul emprunte quelques climats essentiels (« Borderlines »). Ce morceau étant l’ossature principale de l’album, avec ses nombreuses cassures que tous les amoureux de « prog » vénèrent.
Ce titre est une réussite totale, car lorsque la voix féminine apparait, avec celle de Paul, les deux étant « vocodées », on est complètement aux anges.
L’atmosphère pesante d’un morceau comme « Hindsight » à l’intro au piano bourré de « révèrbe » hyper expressive, demeurera un des grands moments de cet album.
Le traitement des guitares souvent saturées et notamment au début de « Tears », offrent à l’humble auditeur que je suis des plaisirs simples et pourtant tellement enrichissants. La voix caressante de Paul, (ici et très souvent le long de l’album), et le son global de ce titre, évoquent fortement un certain BLACKFIELD, qui demeure quoiqu’il advienne, un de mes groupes de chevet.
Il n’y a pratiquement rien à jeter sur cette galette. J’ai le casque sur les oreilles en écrivant cette chronique, et le fabuleux morceau « Feel The Way », n’en finit plus de m’émouvoir, ainsi que l’avant dernier titre « Waiting » au refrain obsessionnel, sur lequel la charmante Sammi LEE donne une touche légèrement « soul », et déchirante de feeling me faisant penser à la chanteuse d’ARCHIVE, encore un groupe marquant pleinement son époque.
Voilà, c’est vous dire l’immense plaisir que j’ai ressenti à l’écoute de « P’Dice », et je souhaite vivement vous avoir fait partager mon admiration, pour ce que je considère en ce début d’année comme cette œuvre incontournable de 2012, et pourtant il nous en reste pas mal à découvrir.

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P'dice Reviewed In Background Magazine

At first the name Paul Cusick did not ring a bell, than I found out he spent his time playing guitar in Gabriel and in some lesser known bands. After reading my colleague's review of his first album Focal Point (see review) and after listening to Paul's latest CD P'dice I will have to find his debut as well. As a multi-instrumentalist and vocalist everything on the album is played by Paul himself with the exception of the drums. A very positive point is that Paul did not decide to use programmed drums but asked two drummers of flesh and blood to play the drums for his new album.

The first song completely sets me in the wrong direction. When I listen to Everything the first thing that come to mind is melodic rock from the United States. Paul's voice sounds as Night Rangers's Jack Blades and the song has hunches of the aforementioned band and Jack Blades cooperation with Styx's Tommy Shaw in their band Shaw Blades. A bit strange to hear this but certainly not a bad song where in the end the melodic rock slightly turns towards progressive rock. On God, Paper, Scissors you hear the influences my colleague referred to when he reviewed Paul's debut album, namely Porcupine Tree. Coincidence that the drummer on this song is Gavin Harrison? I don't think so, Paul's music already had a lot of Porcupine Tree influence on the previous album, he only was so lucky to have Gavin play on three songs and his significant type of drumming will always be linked to Porcupine Tree I guess. Besides Gavin, Paul also invited another impressive drum monster to play on P'dice, namely Marco Minnemann, so regarding the drums on this album, that should be and is more than OK. Listen to the over eleven and a half minute song Borderlines, where Paul's strong and emotional vocals are perfectly in balance with the guitars, drums and guitar lines. Here the Porcupine Tree influences are taken over by Blackfield, another Steven Wilson production. Mainly because Paul's voice has more of Aviv Geffen than it has of Steven Wilson. A brilliant spacey guitar solo will connect you to the internet and after a powerful part, the music flows back to the main melody to close the song. Soft piano with electronic percussion  leads into Tears where Paul shows how an emotional ballad should sound like. A slightly dark voice, combined with a flowing guitar in the vein of Dave Gilmour, gently turn into a more up tempo song where the power also builds up to a cool crescendo. You Know originally was released as a CD single but appears here in its full glory. Marco lays down a cool Blackfield like drum pattern before the power kicks in and turns the song more into an alternative song with a progressive touch. Paul's vocals seem to be able to cover it all, a great addition to the album. Hindsight has again a Blackfield atmosphere, but still has a true sound of its own, a perfect way to demonstrate  how a piano, an acoustic guitar and superb vocals go together. I noticed that the songs are composed on piano at first, so no surprise Feel This Way has this strong basics of piano. Halfway the song Gavin's trademark drumming and a stunning floating guitar are filling the room with their power, just to softly flow away into the mesmerizing sounds of the beginning of the song. When It Rains was also released as a CD single and gets its full glory on P'dice, slightly electronic percussion and soft vocals are building up and giving the song slightly more power towards the end. When I come to Waiting, the ninth song of the album, I am totally into Paul Cusick. His songs are impressive, surely with some influences of Steven Wilson, but still very Paul Cusick. With his vocals he is able to grab the inner soul of the songs. In Waiting he is accompanied by Sammi Lee, whose voice really adds something to the song, especially in the softer part at the end of the song. The last song on the album is The Human Race, another impressive showcase of keyboards, guitar and a brilliant voice.

With his second album, Paul Cusick did definitely enter the major league of progressive rock and I am sure he will get the recognition he deserves, because P'dice is a brilliant album. Please gather a band and bring us the music on a live stage, in the meantime I will do some searching for the debut album.

****+ Pedro Bekkers

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P'dice Reviewed on MLWZ.pl - Polish

Podobał się nam płytowy debiut Paula Cusicka (o albumie „Focal Point” 2010 pisaliśmy na naszych łamach dwa lata temu – bezpośredni link tutaj), zachwyciły nas utwory wypełniające tę płytę, poruszyły dźwięki układające się w przyjemną w odbiorze, pełną emocji, całość przepełnioną ładnymi melodiami oraz nasyconą intrygującą, wręcz wciągającą atmosferą, na którą składała się istna mieszkanka stylów i klimatów. Bez niepotrzebnej próby definiowania za wszelką cenę, propozycje tego brytyjskiego artysty nazwać trzeba po prostu rockiem zagranym na najwyższym poziomie. Rockiem poprzedzonym, w zależności od tego, co komu uda się wychwycić w muzyce Cusicka, słówkiem: „progresywny”, „post” czy „emo”. W każdym razie w swojej twórczości muzyk ten porusza się po szeroko rozumianych terytoriach prog rocka przesyconego ciekawymi melodiami układającymi się w nadzwyczaj zgrabne utwory.

Podobnie jak na płycie „Focal Point”, na swoimi nowym krążku Paul Cusick jawi się nam jako jednoosobowy zespół; gra on na wszystkich (prawie) instrumentach, sam skomponował całą muzykę, napisał wszystkie teksty, a także zajął się miksem oraz podjął się produkcji. Do pomocy potrzebował jedynie perkusisty. A właściwie dwóch perkusistów. Sięgnął bowiem po dwie wybitne, cieszące się uznaniem w branży postaci: Marco Minnemanna (Steven Wilson Band, The Aristocrats) oraz Gavina Harrisona (Porcupine Tree, King Crimson).

Skąd tytuł płyty? „P’dice” to skrót od słowa „prejudice” (uprzedzenie). Lub też, jak rozwija to sam autor: „The Personal Possesion Of A Random Prejudice”, co w naszym polskim (skąd my to znamy?), luźnym tłumaczeniu można by określić jako „zwykłą, szczerą zawiść”.

„Myślę, że nie przesadzę mówiąc, że wszyscy jesteśmy na codzień świadkami uprzedzenia i różnych przejawów zawiści: rasizmu, nietolerancji religijnej, klasowości, homofobii, zazdrości o dobra materialne, seksizmu, tych wszystkich chorych „izmów”, które przejawiają się brakiem tolerancji dla normalnych ludzkich zachowań” – tłumaczy Cusick. I trzeba przyznać, że w sporo jest racji w jego słowach: „Paradoksem wydają się różne uprzedzenia wynikające z tego, gdzie ktoś się urodził, w jakiej warstwie społecznej się wychowywał, jakie odebrał wykształcenie czy też po prostu czy jest gruby albo chudy. Niektórzy nawet myślą, że są w stanie ocenić kim ktoś jest po samochodzie, którym jeździ, po pracy, jaką wykonuje lub też po muzyce, której lubi słuchać. To chore”.

Jako bohatera płyty „P’dice” Cusick uczynił człowieka, który z perspektywy czasu wspomina pewne zdarzenia swojego życia, analizuje swoje myśli, plany, decyzje, uczucia, które kształtowały się, często podświadomie, w wyniku zwykłych uprzedzeń.  Temat to niełatwy, ale opowiedziany jest tutaj rozumnie, z wyczuciem i, co najważniejsze, celnie. No i przede wszystkim włożony jest on w ramy zgrabnej, blisko 60-minutowej płyty, składającej się z 10 dobrych utworów.

Do kogo artysta adresuje swe muzyczne propozycje? Od razu powiem, że do ekranów komputera (a potem czym prędzej do odtwarzaczy CD) powinni zbliżyć się teraz sympatycy twórczości Porcupine Tree. Paul Cusick pozostaje bowiem na płycie „P’dice” wierny stylistyce znanej ze swojej poprzedniej płyty, a ta, jak pamiętamy, jawnie hołdowała dorobkowi Stevena Wilsona i jego zespołu (zespołów).

Album otwiera utwór o wymownym (także pod względem różnorodności stylu, w którym jest utrzymany) tytule „Everything”. To bardzo dobry rocker, świetny, dynamiczny wstęp do tego, co za chwilę usłyszymy. A słyszymy najpierw niezwykły, pełen pewnych odniesień do muzycznych lat 70. utwór zatytułowany „God, Paper, Scissors” (pod względem literackim to jeden z najmocniejszych punktów całej płyty; muzycznie niestety kształtuje się on w rejonach niższych), potem najdłuższą (blisko 12 minut) kompozycję „Borderlines” (nie mogę oprzeć się wrażeniu, że słyszę tu wyraźne wpływy muzyki VdGG oraz Porcupine Tree), następnie ciekawy, ledwie czterominutowy balladowy, z przeszywającym serce finałem, utwór „Tears” i chwilę potem bardzo jeżozwierzowy „You know” – utwór, w którym można się zakochać od pierwszego razu. Brzmi doprawdy świetnie, a to dopiero połowa albumu. Do końca zostało jeszcze 5 utworów, z których co najmniej dwa – „Feel This Way” i „Waiting” z gościnnym udziałem wokalistki Sammy Lee - to kompozycje z najwyższej rockowej półki.

„P’dice” to rzecz, która naprawdę może się podobać. I to nie tylko fanom grup pokroju Porcupine Tree, Van der Graaf Generator, Gentle Giant, Pink Floyd czy Genesis. To po prostu kawał dobrej muzyki, przy słuchaniu której można spędzić mnóstwo przyjemnych chwil.

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P'dice Review from Babyblaue-seiten.de - German

Mit seinem zweiten Album „P'dice“ macht Paul Cusick da weiter, wo er mit „Focal Point“ aufgehört hat. Perfekt gespielter, atmosphärischer, melodischer, packender New Artrock, der sich geschickt alle Möglichkeiten zu nutze macht, die moderne Studiotechnik so bieten. Cusick spielt wieder so ziemlich alles selbst und singt. Am Schlagzeug hat er diesmal mit Gavin Harrison und Marco Minnemann Hochkaräter am Start, die das musikalische Erscheinungsbild nochmals aufwerten. Vor allem Minnemann glänzt mit souveränen Beiträgen. Auf einem Track ist mit Sammi Lee eine starke Gastsängerin mit dabei.

Cusick ergeht sich in elegischen Gitarrenparts, die David Gilmour nicht besser hinbekommen hätte, und gefühlvollen Soli, die Rothery aufhorchen lassen dürften. Die Gitarre ist halt immer noch seine liebste Spielwiese, aber die Tastenklänge sind geschmackvoll und das Bassspiel songdienlich und ausreichend druckvoll. Gerade beim Opener und später bei „You Know“ überrascht Cusick mit – für seine Verhältnisse – heftigen Ausbrüchen. Dabei klingt „Everything“, auch wegen des leicht verzerrten Gesangs, wie eine Kreuzung aus Brit-Pop und Rock'n'Roll, während „You Know“ eher in die Richtung Porcupine Tree ausschlägt. Das über 11minütige „Borderlines“ klingt wie Pink Floyd in ihren besten 70er Jahre-Tagen und lässt sich viel Zeit mit gelungenem Stimmungs- und Spannungsaufbau.

Auch inhaltlich ist „P'dice“ durchaus anspruchsvoll. „P'dice“ ist eine Abkürzung für 'prejudice', also 'Vorurteil'. Und so geht es um die eigenen Befindlichkeiten, die Schwierigkeiten mit Vorurteilen, Ungerechtigkeiten und recht intelligenter Religionskritik (das gelingt ja bei weitem nicht jedem so subtil).

Ein rundum gelungener Zweitling also, mit dem Paul Cusick seinen Stil verfeinert und noch edler präsentiert. Der einzige Mecker ist, dass das Album nach „You Know“ in eine ruhige, sehr ruhige Schiene einschwenkt. So sind die Songs zwar nicht schlechter, aber doch eben etwas zu ruhig geraten, auch wenn eine Nummer wie "Hindsight" förmlich vor Emotionalität platzt. Erst der Einsatz von besagter Sammi Lee lockert die beginnende Lethargie ordentlich auf. Wem „Focal Point“ schon gefallen hat, der dürfte auch „P'dice“ genießen, alle anderen sollten dem Album eine Chance geben, wenn man dem Genre nicht völlig abhold ist. Gutes Album.

by Thomas Kohlruß

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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.

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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.

 

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).

Link to source review 

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)

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

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

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.

Read Review at Alternativematter.net 

P'dice Awarded 5 Stars @ Sea Of Tranqulity

Paul (Q) Cusick returns early 2012 with his second album entitled P'dice. In Paul's own words P'dice is "short for prejudice" or like it says in the booklet, "The Personal Possession Of A Random Prejudice".

Prejudice is something we all are guilty of in one way or another, at least enough to inspire one of Britain's finest multi instrumentalists in making this album.

As with the first album Focal Point, Paul has done most of the work himself. Writing the lyrics and music, producing and mixing. In recording the drums Paul has had the help of two of the worlds most famous drummers, Marco Minnemann and Gavin Harrison. Both excellent musicians therefore a perfect fit with Paul.

Producing an album these days is very very difficult. To ensure the making of the album, Paul has asked his fans to help create the album. In helping him they could earn themselves a spot on the album sleeve. Looking at page two of the booklet he has a lot of fans.

On to the music because that is what the review is for. With Focal Point Q surprised us all, with his fine blend of emotional and melodic rock music. Placing Q's music is difficult. At first glance at all the tracks one learns that the musical genre is wide. Rock music in optima forma, you could call it progressive rock, emo rock, melodramatic rock. I don't know. I for one place his music in the progressive zone.

All tracks are blessed with a fine melody lines, and all of the songs are very well crafted. 10 tracks long nearly an hours worth of music. The album kicks off with a track appropriately entitled "Everything", from the start this track is rocking all over the place, instantly grabbing the listener, sitting in his chair saying "I want more" and you'll get more. In the next song Q replaces "rock, paper, scissors" with "God, Paper, Scissors". Thus making his own version of this "game" . Musically the theme reaches out to fellow dramatic songwriters from the past. Lots of influences of the old '70's great rock stars. Next up is the longest track on the album. Emphasising that Paul is very capable writer, "Borderlines" takes us on a trip through musical time and space. Influences of the great music by Vander Graaf Generator or Porcupine Tree or Genesis, just name any of the big stars from the past. In no way does Paul copy what they have done, on the contrary he uses his own sound and writing. The influences are only there in the way of the feel of the songs. Majestic, true music how music is supposed to sound, in my opinion. Not detailing too much, the whole album like I have said already is full of these excellent songs.

Is this P'dice or just my opinion, you tell me. I think it's a tremendously fabulous album. Well Done Paul.

The Dice of Life – P'dice

5 Stars - Gert Hulshof

Read Review On Sea Of Tranquility

My Interview For Rock Radio

Multi-instrumentalist Paul Cusick recently released a debut album I said was ideal for fans of Porcupine Tree and Marillion, to name but two. So who is he?

Paul, the album Focal Point is your solo debut. What have you been doing up to now?

Musically I’ve been guitarist for other bands such as Gabriel, Aura and Ripped. Professionally I’m a Chartered Civil Engineer. I also have three kids.

You’re based near York?

I was born in York, spent my childhood in Scotland, attended Heriot-Watt University in Edinburgh, lived in Israel, USA, London and Leeds, eventually returning to York when the kids came along.

You write and play everything yourself except for drums. Was that always the plan, or had you lost faith in the band format?

I never planned to do it all myself - I just found it easier that way. When you co-write a song there are compromises, but with Focal Point I had a collection of songs and an idea of what I wanted. I had tried a couple of songs from the album within a band environment but they didn't work. The band showed almost no interest in my songs and I guess I didn't have much confidence in my writing - so as soon as their faces started to glaze over I’d just get back to playing guitar. Generally, bands I’ve been in have worked around the singer. I don’t consider myself a singer so I’d just do my bit on guitar. My approach is different now. Working on my own I take a song and imagine how a “dream band” would play it. I then develop the song with that in mind.

Having gone it alone, do you feel this is the best way to work?

I think so. I find it easy to write by myself. No pressure, compromise or egos to deal with. But things may change - I’m open to offers.

You had early interest from several record labels. Why set up your own?

I wanted to know how it all worked. I didn’t like the idea of blindly signing away a few years or a few albums to someone else. I used Myspace to get some demos out. I trawled the internet to research the ins and outs of being an indie artist. Through Facebook I started to build a fan base I could interact with. The natural progression was to set up a label, so Q Rock Records was born. I’m still learning but the internet is a great leveller.

Reviews have mentioned possible influences like Porcupine Tree and Marillion. Is that fair?

Listeners like a frame of reference and I’m flattered by the comparisons, especially when it's to bands I admire. It’s also fun to be compared to bands I've never heard of because then I get the chance to discover them. OSI springs to mind.

Do you plan to record soon, or have you already started?

I'm already recording album number two. There's no better place than my studio on a cold winter’s night.

Obviously you don’t have a band readily available for live work. When can we expect to see you gigging?

I think a band may be in order after the next album - but it depends on whether there's a demand. Only time will tell.

Posted: Wed 11 November 2009 15:46 by Martin Haggarty

Interview for Classic Rock Society Magazine Oct/Nov 2009

I did quite a lengthy interview for the Classic Rock Society ... enjoy...

Paul Cusick’s bio reads that the “………British born multi-instrumentalist started his solo music career in 2009 with the release of his debut album "Focal Point". Previously Cusick had spent years as the lead guitarist in several bands, but in 2008 his new year's resolution was to step out from behind his guitar and concentrate on his own song writing and production skills.”

Paul, your bio’s rather enigmatic introduction to you could come across that you wanted to either forget the past or concentrate on the present. For those who like to know an artist’s background, what was your earlier musical genealogy?

Forget the past, concentrate on the present? Mmm….no help needed on forgetting things as I don't have the greatest memory... Actually, the present is what it is because of what's passed before. So my musical present is I suppose a culmination of my musical past:

Looking back I started to learn guitar at school under the careful tuition of my art teacher Bob Greenwood, a great blues player, who used to have us fetch songs in to him that we wanted to play. He would transcribe them for us, and then patiently teach us how to play what we heard. I think he transcribed most of "Heaven and Hell" by Black Sabbath for me.

At school I joined my first band playing the obligatory Status Quo tracks. At University I played in a couple of bands covering tracks by Marillion, Van Halen, Queen, Alan Parsons etc. These bands were just for fun and I don't think we played more than a handful of gigs. Some people say when you join a band you get girls. Actually I just found rehearsal nights were nights that could be better spent with girls (laughs).

After University I moved to Leeds and joined my first serious band. We were a three piece that went by the name of "Aura". Our set list included some self penned prog numbers, but we never failed to impress with a combination of covers from bands such as World Trade and Rush. I loved playing songs such as "Freewill", "YYZ", "Spirit of the Radio" and "The Pass", among many others. Alex Lifeson is one of my guitar heroes. We also combined that prog set with some popular songs by The Police. I remember I especially had a soft spot for the track "Synchronicity II".

As a three piece band it was my role as the guitarist to fill the atmospheres between the rhythm and the vocals. I think it was this requirement that helped define my guitar style. Echoes, Volume swells, Violining etc. Atmospheric sounds that turned the electric guitar from a rhythmical/ lead instrument into an ambient background instrument that harmonised with the vocals. The technical requirements of songs by Rush were thrilling to play but I really enjoyed the textures I was starting to create within our original material. But unfortunately other life demands forced me to leave "Aura" and shortly after I moved to York.

I gave up on bands for a while and started to learn my way around PC's and audio recording. But software and computer processing speeds were pretty slow 10 years ago, well they were on my home PC, so to satisfy my creative appetite I decided to look out for a new band.

I remember replying to a small ad for a band called Gabriel, a 5 piece rock band fronted by vocalist “extraordinaire” Marc Atkinson. They were looking for a lead guitarist to replace their then departing lead guitarist Colin Elsworth. He was a technically fantastic guitarist, classically trained with all the tricks needed to play most styles you could imagine. He was about to head of for the Birmingham Conservatoire of Music to pursue the craft of classical guitar.

At that time Gabriel were promoting their recently completed album "Ascension". An album that I think many of your readers may be familiar with. If not, they should be. Not only does it feature the great song writing and voice of Marc Atkinson, but guests artists such as Bryan Josh and Heather Findlay from Mostly Autumn. One particular track "Faith and Betrayal" featured an epic guitar solo by "BJ", which I remember was actually part of the audition. Anyway Gabriel needed a replacement that could cover both Colin's and BJ's guitar parts and for some strange reason I got the job.

Gabriel continued for a few years, gigging, writing new songs, releasing a couple of CDs, but drummers came and went, different members got involved in different side projects, and the momentum for the band eventually ran out. At one point our keyboard player Andy "Rob" Swann decided he would step in to play drums. To provide live drum practice, Gabriel then played as a 4 piece cover band called "Ripped". As Ripped, we just played great rock songs, U2, Train, Lenny Kravitz, Feeder, Coldplay etc - that was fun. But the fun eventually fizzled out so we stopped gigging.

After Ripped I played guitar on a couple of Marc Atkinson's solo studio albums and for a brief period joined the ranks of Riversea, a new Project he had started with keys man Brendan Eyre. I was actually in the process of writing songs for ‘Focal Point’ when we (Riversea) were offered a support slot to “The Reasoning”. We accepted the gig and then realised a set of songs had to be written and rehearsed for our debut gig at The Robin in Bilston.

To our surprise Riversea went down a storm. Sometimes you can just tell when an audience gets your songs, and the audience that night got Riversea. Unfortunately it was starting to dawn on me that I did not have enough time to both finish ‘Focal Point’ and give Riversea the commitment it needed. So I bowed out of Riversea to concentrate on my own album.

His bio continues: “Within four months Cusick had received record offers from two separate progressive rock labels. This interest gave Cusick the confidence to continue writing and recording his debut album, whilst still maintaining his career as a Chartered Civil Engineer.”
It seems quite impressive getting offers from rock labels without any previous solo track record. How did all that come about?

Yeah, and surprising. It was January 2008 and I had decided, for my New Year’s resolution, to concentrate on writing my own songs. I didn't know at that time I was going to be doing a full blown solo album. I had just created a MySpace site and uploaded a couple of songs for a bit of a laugh. Some were instrumentals and some were rough demos that featured Marc Atkinson on vocals. A couple of tracks had even been rehearsed by Gabriel, but I guess the guys never really got my songs and I've never been one for pushing them on anyone.

The problem I encounter when I write a song is I actually have little confidence in what I write. Don't get me wrong, I know when my guitar parts work, that's why I enjoy playing guitar. But as a song writer I struggle with my art. And on the vocals front... well let’s just say I feel a little uncomfortable hearing my own voice. I guess most of us have that sense of embarrassment when we listen back to a recording of our own voice..., how many times do you record your answer phone message before you are happy for it to be heard by others? Imagine that amplified with the added dimensions of pitch, lyric and melody!

I don't envy the role of vocalists at all. It takes balls bigger than space hoppers to stand in front of a crowd and open your voice. As a guitarist you stand behind your guitar. It's a six string wall of defence.
Anyway I digress..., where was I? I told you I had a bad memory...., oh yes MySpace….well I started to get feedback from complete strangers that they liked my songs and some were asking where they could they buy them. This made me wonder how to proceed? The early demos featured Marc on vocals, and he kindly offered to sing on my album, but I knew if I was to proceed with a "solo" album that I would have to face my fear and sing myself. I mean Marc's voice sounded great on the demos but his style of singing didn't convey the feelings I had in my mind for some of my songs. I could have used Marc on some tracks and me on others, but again I kind of felt driven to try it myself.

My first attempt at vocals was on ‘Big Cars’. I used a voice affect that made my voice sound mega phonic. It's a trick used by many artists. It adds a certain quality to a voice but at the same time hides pitch problems. Anyway I recorded a working demo of ‘Big Cars’ and hired a session drummer, Phil Robertson, to play drums. I then emailed some Prog Rock Radio stations and asked if they would consider adding my song to their playlists. To my surprise I received offers from 2 Prog Rock labels.
I hadn't expected that sort of interest. It took me completely by surprise. Remember the idea for Focal Point was only starting to form in my head and the degree to which I was going to develop it had still to be finalised. But I was starting to think I should do the best I could within my limited resources.
I remember Marc and Brendan (Riversea) were supportive of my idea to have a go at a solo project, and Brendan was actually more enthusiastic about my offers than I was. I had been emailing both of them mp3 after mp3 of rough demos / instrumentals trying to gather feedback and to gain perspective on my ability, but the guys in Riversea were supportive and instrumental in giving me the push. (By that I mean encouragement and not that they kicked me out)

It seemed strange having 2 offers on the table and no album. Kind of a horse before the cart situation. But, in hindsight, it was only the feedback from labels and friends that made me persevere with Focal Point.

My partner, Theresa, says I hide my light under a bushel and I think I needed her blessing before I started the real work on Focal Point. During the time I subsequently spent on my album, she had to look after all the things that need looking after for a family to function.

Chartered Engineer and rock guitarist appear to be two ends of the spectrum. How do you balance both vocations?

I don't sleep! (smiles). In reality I can't balance both. I have managed to burn the candle at both ends for ‘Focal Point’ but that was only possible because I had support from my family. I am quite lucky in that I work as a freelance consultant engineer, my hours are flexible. I can work as much, or as few, as I decide. With work I decided, shortly after my dad died, that I wouldn't wait until 65 to start enjoying my retirement. He died young, well before he had time to enjoy his retirement, so I have decided to have a semi-retired life. Hence my flexible "reduced" working hours.

I am lucky enough to enjoy my work, and my music is really my only serious hobby. I would love to say I have mastered the balancing trick, but in reality I still need my professional careers as a consultant. Unless of course ‘Focal Point’ sells enough copies to justify me concentrating solely on my music. That would be a dream come true. I have ideas for album 2 and several songs are already written but..., well only time will tell.

Paul’s bio continues: “Cusick's guitar style has been compared Steve Hackett, David Gilmour, Steve Rothery and Steven Wilson. His songs draw upon the sounds and audio landscapes created by bands such as Pink Floyd, Peter Gabriel, Porcupine Tree, Chroma Key and Nine Inch Nails. However, the long instrumental pieces that are sometimes associated with the progressive rock genre have been replaced by catchy vocal melody lines akin to those evoked by more mainstream rock artists such as Coldplay and U2.”
There are a lot of names in that description to make the typical CRS member’s mouth water at the prospect. Do you feel lumbered, embarrassed or inspired by these comparisons?

Honoured! By far the biggest comparison people are saying about my music is it sounds like Pink Floyd mixed with Porcupine Tree. How can I not be flattered by those sorts of comparisons? If I was being compared to artists that I hadn't heard of, or artists who I didn't enjoy listening to, then I would be worried. But to be mentioned, in a complimentary manner, in the same breath as Dave Gilmour, Roger Waters or Steven Wilson is simply an honour.

I am also being told I sound like bands I hadn't previously heard of. OSI springs to mind. I have since become a big fan of their music, and fans are always introducing me to new artists. I love it.
There is a downside, when fans of other bands get all defensive of their idols and post messages on forums insulting my music, belittling the comparisons made by others. Everyone's free to have an opinion but some of the comments posted are insulting and can be quite personal. I never started comparing my music to other bands, it’s the listeners who make the comparisons. Objective comparisons I can read and respect but why some choose to send nasty emails I’ll never know. If people don't like my music then why do they listen to it?

But on the whole, as I said, I am flattered by such favourable comparisons and touched by the number of compliments people post on my Facebook page.

Actually when I think about it I'm actually in shock at the feedback my album has generated....,

For his album, as we’ve heard, Paul sang and played all instruments himself, apart from his friend Alex 'The Groove Monster' Cromarty on drums, with Andy Edwards (FROST*, IQ) a guest drummer on the track 'Touch'.
Was it your decision to be as self-sufficient as possible with the album, Paul?

Yes. My nature is to understand how something works. I created www.uksingles.co.uk as one of the first UK online dating agencies just because I wanted to learn about the web. I then created the www.4jobsonline.com network because I wanted to tie in web design to civil engineering. I have renovated numerous properties, tinkered with classic cars and had a house built in Florida. I just like doing new things. Life's too short to get stuck in a rut.

On the music front of things I love playing instruments. By choosing to play them all, I gave myself the freedom and time to experiment to my hearts content. Home recording techniques can now provide studio quality audio. It was the same with the production of the album. When you're paying hundreds of pounds a day for a studio, it makes sense to save money and do as much of it as you can at home. As I record songs the whole process is dynamic. The freedom to make changes by yourself, in your own time, is invaluable.

Obviously I had limitations..., I can't play the drums. I can programme them, but alas drums are an instrument I'm yet to attempt. Anyway, when you have friends like Alex willing to help, you willingly accept their skills. He is a star and we’ve known one another since his drumming days in Gabriel. He is without doubt a world class drummer that the world has yet to hear about.

But eventually, the recording of the drums and the final mixing I did with John Spence at Fairview Studios. You have to know your limitations.

On the artwork side of things, I had a strong idea of what I wanted, but initially I didn't have time to create the artwork. As luck would have it a facebook fan, Martin Roberts, offered to help. His Photoshop and design skills were great and we struck up a creative relationship that just worked. Our ideas gelled and we quickly gained respect for each others point of view. I love the artwork included in the CD booklet. It’s great to have a visual representation of every song. Other people offered their help as well, Mark Nowicki a graphic designer from the US and Paul Newsom a photographer from York all volunteered their art to the project. T-shirts will be next but I need to find a company I can trust to work with on that front (hint).

On the distribution front it would have been great to take my completed album and hand it over to a third party, but when I started to look into the record contracts I had been sent, there were certain terms and conditions that I considered worked strongly in the favour of the record company. I know certain clauses will always favour one of the parties to a contract, but my concern was they could hear my music and use their expertise to decide how successful my album would be for them, but I had no tangible proof as to how successfully or otherwise they could distribute my music.

The idea of signing years or albums away to an unproven entity was unappealing. That's not to say I wouldn't sign if the right offer came along, but how could I determine how good an offer was if I didn't understand its practical application.

So, as is my nature, I researched the role of record companies and distribution companies and decided to do it all myself. I guess the internet has empowered the artist with the potential to do as much as they want. I combined what I learned with my background in web design and set to work promoting Q Rock Records www.qrock.co.uk.

I also picked up advice along the way from "bigger" artists and players in the music scene, and that advice favoured my decision to stay independent.

So, what does your immediate independent future hold? The CRS had been expecting a Riversea gig earlier this year which turned out to be a Marc solo. Might we see Paul Cusick live in one form or another perhaps?

I’m having a rest. My kids are on their summer holidays so I’m spending time with my family. I’m continuing to work on promotion and distribution for Focal Point and I’m in discussion with a video production company about a possible video.

If all keeps going well, I’ll be working on a second album over the winter and then next year I will be looking for a band to gig both. I need two albums so I have enough original material to play decent gigs. That’s my plan, but a lot can change in a year. Who knows what opportunities may appear in the future?
Eighteen months ago I would never have dared to dream I would be sitting here in summer 2009 having written, recorded and released a solo album on my own record label. And to my great surprise Focal Point is also an album I’m immensely proud of.

I have learned so much along the way. From the mechanics of recording and production to reconfirmation of the spirit that exists in others to freely give help and support.

But the greatest lesson I have learned is that I can do it. I can make a News Year’s resolution and stick to it (laughs) it’s probably the first time I’ve managed that. The journey so far has been fantastic and I believe it is only the start.

Focal Point Review - Background Magazine

I discovered British born multi-instrumentalist Paul Cusick, while visiting Facebook on the internet. Facebook is a wonderful medium to meet new friends with common interests. Mr. Cusick must have had the same idea, when he tried to reach a bigger audience for his debut album Focal Point. He put an announcement for the album on Facebook that drew my attention. I asked him if I could get a copy for a review and he was so kind to send one. For those who are not familiar with Paul Cusick here’s a very short introduction. He used to be a guitar player for Peter Gabriel, Ripped and Riversea. The latter two names didn’t ring a bell for me, but that’s not of any importance. He put some demos on his MySpace-page on the internet that became very popular. Some record companies were willing to release his music, but he decided to release it on his private label instead. By doing so, he was free to record the music he likes best.

Apparently, I have the same musical taste as Paul Cusick for I got addicted to Focal Point. The music got me by the throat right from the start. Paul did an amazing job on his first album and he almost played all the instruments by himself. Why do I like Focal Point so much? Initially the groove on this album reminded me of Porcupine Tree especially Paul’s strong guitar riffs and the way the drums are played by Alex ‘The Groove Monster’ Cromarty. On one track, Touch, Andy Edwards (IQ, Frost) plays the drums. Good examples of strong grooves can be heard in the opening tune Focal Point and in Soul Words and Big Cars. Another fine aspect of this album is the way Paul Cusick creates fantastic atmospheres with wonderful synthesizer and acoustic piano sounds. Tracks to dream away by are Everblue and Touch. However, that is not all Paul Cusick has to offer. What to say about his awesome and very melodic guitar solos? They prove that he’s a big fan of musicians like Steve Hackett and Dave Gilmour. Just listen to Fade Away and Senza Tempo and you know exactly what I mean. Besides, Paul Cusick is a very gifted singer with a warm voice that never gets bored. The way he declaims the concept story on this album appealed to me either, but the combination of short soundscapes with fantastic background music really did the trick for me. It gives the music a certain tension and atmosphere that I like. It reminded me of albums made by Rain (Cerulean Blue) and Mickey Simmonds (The Seven Colours Of Emptiness). Those albums also contain a story and have the same kind of atmospheric orchestral music.

People who are interested in this fine album may download or buy the album from Paul Cusick’s website. You can listen to some new material as well. If you like Porcupine Tree and all the above-mentioned names you will have a great time with Focal Point. Anyway, I enjoyed it a lot.

**** Henri Strik (edited by Peter Willemsen)