P'dice Reviewed On "Hooked-on-music" - German

Habt Ihr zuvor schon mal von den Bands GABRIEL oder RIPPED & RIVERSEA gehört? Ich auch nicht. Aber einen der Musiker dieser beiden Gruppen, den kenne ich nun. Paul Cusick heißt der Mann, kurz Q, und er war bei den Gruppen für die Gitarre zuständig. Seit 2009 ist er nun solo unterwegs und daher auch gleich für das Songwriting, die Mehrzahl der Instrumente, den Gesang sowie die Produktion seiner Musik zuständig.

Dass sich das auszahlt, bewies gleich seine erste Solo-Scheibe “Focal Point“. Der Brite zelebrierte darauf das Andenken an alte Heroen wie PINK FLOYD, PINEAPPLE THIEF oder die frühen Werke von PORCUPINE TREE. Dabei machte er neben auftürmenden Keyboardwänden durch sein feinfühliges Gitarrenspiel auf sich aufmerksam, bei dem Vorbilder wie David Gilmour (PINK FLOYD), Steve Rothery (MARILLION) oder Steven Wilson (unter anderem PORCUPINE TREE) unschwer erkennbar waren.

“P'Dice“ lautet der Titel des zweiten Werkes von Paul Cusick. Dafür nahm Q eine Auszeit vom Job, baute sich ein eigenes Studio und machte sich ans Werk. Musikalisch hat sich nicht so viel verändert – zum Glück, wie ich hinzufügen möchte. Cusick ist seinem Sound, seinem Stil treu geblieben. Das Album bietet wieder abwechslungsreiches Songwriting, wie zum Beispiel beim Uptempo-Rocker-Opener Everything oder aber sphärisch-mystische Songs wie das anschließende God, Paper, Scissors. Bei dem elegisch-ausschweifenden Borderlines zeigt sich Cusick von seiner ruhigeren, oder wenn man will, verletzlicheren Seite. Ein Song mit reichlich Ambiete ist auch Hindsight, das Cusicks Sinn und Talent für überzeugende und berührende Spannungsbögen offenbart. Bei When It Rains fühle ich mich hingegen eher an Peter Gabriel erinnert.

Paul Cusick ist es gelungen, ein würdiges, weil spannendes Nachfolgealbum zu “Focal Point“ nachzulegen. Wer die oben genannten Musiker oder Bands mag, der sollte bei Paul Cusick auch mal reinhören. Das Ganze ist nämlich so überzeugend, dass es ihm gelungen ist, solche Koryphäen wie Marco Minnemann und Gavin Harrison für die Schlagzeug-Aufnahmen zu gewinnen. Das will schon was heißen und ist sicher ein weiteres Gütesiegel für dieses ohnehin klasse Album.

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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 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 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 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