UNSTUCK IN TIME

We find here several ingredients already present in the previous Miller's effort "Belief in the Machine", like a certain "floydianesque" atmosphere (impossible to let go without notice), the pleasant (yet short ranged) voice of Rick, flute and chello contributing exotic ambiance based on modal harmonies, and, of course, Barry Haggarty's guitar.

That is good, but it's not all. In addition, we have choral arrangements in a "gregorian chant like" sort of style, making for the obscure & medieval side of the mood. If you were on a DeLorean equiped with "flux capacitor", you'd read 1348 on the red display.

Anyway, there's also some kraut-rock styled synthesizers contributing to a healthy variety of influences, and probably the best part is the broadening of Haggarty's electric sound beyond the strictly Gilmour-likeness, reshaping himself with a much more acute, poignant tone, which fits perfectly the pathos pervading the grand finale.

This is not going to change your perception of the world and the music, but it's a great album.

Rick Miller is a prolific musician who has been on a series of releases since 2000 when he debuted in 84 with the release of his first album. If I tell you Pink Floyd, Alan Parsons Project, Moody Blues or Genesis you will quickly understand where it will take you for this 15th opus, in atmospheric progressive rock, dark, melancholic, melodic progressive rock; Rick is the first to say that there is little room for jazz fusion, hey that's gonna change me! or for the energetic metal-prog sounds. Also note that this is his second album in 2020 with a track with a targeted reference to covid and you will understand that he actually has more time to compose. Let's go to this melodic monolithic universe.

"The Plague" begins on an ersatz made in the sauce of the day of the PINK FLOYD era Gilmour and "a momentary", Gregorian break, elastic atmosphere and prog drawers that follow interspersed with his suave voice. "State of Emergency" same vein with a higher tone, then similar melodic line. "Covid Concerto" on a synthetic intro that reminds me of The Cars, well in the mood of the 80's! Snubbing your nose at this virus that is spoiling our lives a bit? Compo in the tradition of an Alan Parsons instrumental. "Fateful Apparitions" on a much more complex track, ambient, intimate, dark, scary, Pink Floyd or psychedelic RPWL, interesting because it breaks the lineage of the tracks a bit. "La Causa" to a flamenco, dancing, airy and dynamic tune that awakens your old bones and brightens our ears. "Lost Continuum" and the intro that bathes you in the Moody Blues, even more on the first King Crimson, a flute, bordering on Arabizing the violin, more aerial, almost religious end on distant mantras. "In Sync with the System" starts there on Barclay James Harvest, more sung and rhythmic track, it's calm, the 80's synth break shows a bit here. "Broken Clocks" on a very short track in the same vein without the breaks that maybe go better! "Unstuck in Time" and the flagship title with drawers to start from here and there, a beautiful title but still with an air of déjà-vu and Barry's solos which raise in emotion. Rick Miller released an album in line with the second to last, which sounded a bit like the one before; it's good and you will find all the ingredients that once made people tick; but perhaps too much has happened here by dint of putting on a diaper as beautiful as it is, you may find the repetition a little too obvious. That's good but yes there is a but, it's a nice facsimile of his previous albums without much innovation here. Too bad for someone who follows him, pleasant surprise for someone who does not yet know

Canadian singer and multi-instrumentalist Rick Miller has been incredibly active since the release of his second album 'Interstellar Passage' in 2000, and 'Unstuck In Time' is his fifteenth, released at the end of 2020. The album title itself is taken from Kurt Vonnegut's 'Slaughterhouse Five' and is the inspiration for the title track (which closes the album and is more than 11 minutes in length). Rick tends to stay with the same musicians, and this album contains the same line-up as 'Belief In The Machine', apart from the return of long-time collaborator Kane Miller who was not involved with the last release. This means Ricks is joined again by Sarah Young (flute), Mateusz Swoboda (cello), Barry Haggarty (guitar), Kane Miller (guitar, violin) and Will (drums, percussion).

Rick is one of a very few progressive musicians whose music is instantly identifiable and not really like anyone else. His albums are always intensely atmospheric, with artwork and themes which are related to that. When listening to his albums I find myself drifting into a different world where the only items that exist are the music and his vocals. He sings in a way where there is no stress or strain, lulling in the listener, and one feels like we are drifting through an environment on a feather, being allowed glimpses into some magical places. There are times when he allows the guitar to cut through, but for the most part this is a journey where the layered arrangement is everything.

For some reason Rick has kept below the parapet of prog yet he keeps releasing incredibly consistent albums which are always thoroughly enjoyable, and the listener feels enriched having heard them. This is the ninth release of his I have been fortunate to hear, and all I can say is that if you have yet to come across the world of Rick Miller then you owe it to your ears to do so. Play this on headphones and fall into his universe.